Andrea Sabatelli

On 10/1/2020 at 7:42 AM, Dmitry Lobaskov said:

Hello! check this video. Our plugin provides the precisely measured Color head/printer lights process representation in Davinci.  In a real world this tools works  in unlinear manner - color changes unevenly and contrast is changing as well. 

Thanks a lot

 

13 hours ago, Tom Evans said:

Hi Andrea,

In a printer lights workflow the LUT represents the film stock and should be at the very end of your node stack. That way every correction will run through the curve of the LUT. Experiment with using different LUTs such as the Kodaks and Fujis coming with Resolve as those mimic the original film stocks. By pushing exposure and colors through the LUT you will see that the image will be affected more in the mids and less in the blacks and whites. I suggest you watch the professional color grading course here on Lowepost for some examples of this workflow and you might also read the printer light article in the Insider section for a better understanding.

Thanks a lot!

Thanks a lot, Tom

Hi everyone! I would like to learn more about printerlights/offset. I know they are and were used a lot for a primary balance, but hating LGG I would like to learn more how to create super looks with offset/printerlights. Cause moving all the tonal range affects highlights, shadows and skintones quite a lot and I don’t know also where to put the look node, cause as I understood well, printerlights’ effect has to be seen through a curve. Do I have to put the look node before the first balance/contrast? How do you deal with skintones/qualifiers? Thank you in advance, have a great day.