Sander Ges

Totally missed this one

@Walter Volpatto hope there will be another chance for those who missed it.

1 minute ago, Walter Volpatto said:

There is the philosophical approach and the practical one.

if I want to emulate negative film grain that modify with the color, it should be before the balance node. Nobody does that really, but it is a though.
if I want to emulate as if the negative was perfectly exposed, then it will go before the LUT/Look/main tonal mapping, usually for me that is in the Timeline node before the “look”

if you want to emulate print grain, it should go after the main look.

But, all of this is purely academical: ALL of your material will pass thru a compression pass to be able to be seein: from theatrical (low) to streaming (technical term is “shit-ton of it”). So, the compression will attack the hi frequency of your signal first, if you have light grain it will be gone, if you have a lot, it might reduce the efficiency of the compression algorithm.

it is a losing battle.

I still like to see grain, resolve OFX is good for me, and it is mainly before the main LOOK in the timeline, if a shot or a scene need more, It will be in the shots.

for a movie where two different worlds LOOK where created (Bliss, amazon, this coming February) the look and grain was moved at the group/scene level, so each set of scene had its appropriate look. But it was a bot of an odd ball... the fact that I did not use the group for anything (not corner yourself if you dont have to) allow me to do that.

Thanks for the insight Walter. As most of my stuff goes to the web, I realise I need to add LOTS more grain to be able to even see it.

Hi Walter,

Amazing insight!

When using the build-in grain, do you put it on the 'OFX' place or before / after the LUT or look on the timeline level?