Jason Bowdach

PixelTools PowerGrades for DaVinci Resolve

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Hey LowePost Community,
 
As I'm sure all of you know, having a personal PowerGrade preset library can be an incredibly useful, time-saving tool. That said, it takes a lot of time to put them together, keep them organized, updated, etc, so I decided to do something a bit different. In an effort to create a basic "toolset" that most could use as a starting point for their PowerGrade Library, I started developing PixelTools about 6 months ago.
 
Today, I'm thrilled to announce the release of PixelTools Vol 1 PowerGrades Collection. Consisting of 100+ PowerGrades designed to save you time and help spark your creative juices, I encourage you to take a look and see if it might something worth adding to your post toolbag. If you change your mind within 7 days of purchasing, email me at jason@pixeltoolspost and I'd be happy to process a full refund.
 
I wanted to give this group a launch discount until the end of the month, so use the following Purchase Link along with coupon code LOWEPOST to get 30% off at checkout.
 
Interested but not entirely sure? We offer 7 FREE sample PowerGrades for you to try. Go to http://bit.ly/FreePowerGrades
 
Please let me know if you have any questions. 
 

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Hi Jason! On the site you say that this is custom powergrades for most cameras. May I ask how you match the different camera profiles?

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Hi Abby! Nothing too crazy, I’m utilizing an instance of the Color Space Transform to get the image into a Rec709 colorspace prior to applying a look. I included the Arri LogC to Rec709 Transform PowerGrades in the sample pack, if you’re curious. 

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I understand, but how do you match the different camera profiles to ensure your presets will give the same result with different cameras?

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23 minutes ago, Abby Bader said:

I understand, but how do you match the different camera profiles to ensure your presets will give the same result with different cameras?

Well, I'll take a step back and mention that all the "look" PowerGrades were designed for a Rec709 source image. The workflow I'm suggesting is to rely on Resolve's built-in color management (via the CST effect) to transform any log sources to Rec709 prior to applying a look, so they should all in a single color space (Rec709) at that point. I haven't done any camera-specific corrections (such as correcting the Alexa matrix, correcting the red in Sony S-Log, etc) outside of the color transform, but if it's common feedback I'll definitely consider adding it as a free update. :)

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I think that one of the reasons companies like Film Convert is doing good is that they care about accuracy. They sell a look or stock emulation and they do everything they can to make it look the way it's intended to look no matter what camera they use. This is done by matching their looks with the different camera profiles. By stating on your site that you have custom powergrades for most cameras, I think you insinuate that you match profiles. Not saying you are trying to trick your customers, I just read it that way (and was wrong) and was curious how you did it.

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Thanks for sharing, that's great feedback. I'll likely adjust the website text to better represent the product and hopefully avoid any future confusion, as that's certainly not my goal. While I don't have a team like FilmConvert (love them btw!), accuracy across a variety of cameras and the "open" nature of my product are still quite important to me.

If I omitted the words "custom" and "preset", would it be less confusing? I simply want it to be clear that they include support for both Rec709 and log sources. 

On a related subject, would you find certain having certain "tweaks" built into a Transform power grade useful or counterintuitive? For example, a Sony S-Log transform that also tweaks the colors slightly towards Arri Wide Gamut LogC (manually not via an effect)?

Thanks again, Abby! 

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Are you using the Kodak LAD image as a neutral reference to build your presets on? 

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50 minutes ago, Thomas Singh said:

Are you using the Kodak LAD image as a neutral reference to build your presets on? 

That is one of several references I used. I built them on a variety of source footage, evaluated and tweaked them on charts, and tested them back on the same group of test images. 

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Ok I wonder because some of the before-references you use is out of balance and that gives a wrong impression on how the preset will look on a proper balanced image.

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9 hours ago, Thomas Singh said:

Ok I wonder because some of the before-references you use is out of balance and that gives a wrong impression on how the preset will look on a proper balanced image.

Thanks for that feedback. I’ll try and add some more samples, including  more that are neutral, so you can get a better idea of how they look. 

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one thought, just cause i use L*a*b alot.. on the "L*a*b sat" PG, set pivot to .5, that gives more range to the effect using contrast to push it to 11 should it be needed;

 

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1 minute ago, dermot.shane said:

one thought, just cause i use L*a*b alot.. on the "L*a*b sat" PG, set pivot to .5, that gives more range to the effect using contrast to push it to 11 should it be needed;

 

That’s a fantastic suggestion. Look for that addition in the next update.

Thank you for sharing! I’ve learning a lot about LAB from your posts here and on LGG. 

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