End of this month, I'm thinking. My friend... 'asked' and that's what it seemed like. He made the final post of the tests a few days ago.
He has been building quite a bit of hype around it saying it should work with so many softwares and plug ins so let's see what he cooked.
thanks, thanks. Glad to be back. I gave up on my project aparently a VERY LARGE COMPANY. Is basically doing it themselves: ZEISS I believe making some tool to change the depth/bokeh of (their) lenses. I've been building a similar tool on nuke and fusion, but its just so difficult doing it on my own. When I saw the announcement I just gave up :sweat_smile: <--- I know discord emotes don't work lmao
Gotta tell you it's been really fun messing up with your RGSE dctl brother! Can't wait to see what you've been up to
Just one test away from the release (he said he would do one more test with real film scan with his print lut added) so yeah maybe we're getting it in the end of this month or early June
I'll see what I can cook, currently in the process of figuring out something with mononodes and dehancer. I really like his tools, but the fact that he doesn't say certain things explicitly on some of his powergrades is one of the reasons people don't use it... so I'm going to change that. First I'll see what happens with FilmVision Pro and how that works. I don't think it will be as technical as some of the DCTLs that Mononodes has, but I want to see what comes of it. Also, if I do work on this tools I'll hopefully make it so it works for ACES and ACEScg. So those of you that do VFX can use it. I'll try to keep it very tidy and have Film Em., Non Film Em. and VFX branches. I'm not going to say, I'M TIRED OF THE FILM LOOK. But I think we have to enter a new era where we look at Blade Runner 2049, House of Cards, Zodiac, Juror #2 and more of the digital look and develop that further. Because there's UNTAPPED potential there. HOT TAKE: I might as go as far as to say it's more difficult to make digital look good/memorable/''iconic''/ than to achieve film emulation. The only DP/Directors that have achieved it in my opinion are (in no particular order and yes I'm glazing/simping and all of the above ): David Fincher Alex Garland Denis Villeneuve Roger Deakins Robert Elswit Ray Mendoza Erik Messerschmidt SORRY FOR YAPPING SO MUCH
I love geeky stuff so I don't mind your yapping haha.. Anyways, that's not a hot take—I feel the same way. Celluloid film emulation has always felt like a great way to ease out the "digital-ness" of modern cinema cameras, especially if a DP is aiming for a look reminiscent of traditional film. Achieving that kind of emulation is a never-ending journey, since everyone who’s skilled at profiling film behavior has their own approach. As a result, the outcomes vary—nothing is ever 100% accurate.
Not to mention 90% of the "Look" is lighting and lenses being used these days with digital. Also the post color grading is Key. Which is most certainly all done manually in Davinci with just a basic film emulation "LUT" as the base. No heavy handed plugins or magical LUT's.
Which the majority often forgets. Nowadays I try to use a "film look" as barebone as possible so I can build upon that.
I honestly think that all these powergrade and luts, claiming “film look”, are becoming more and more common and less relevant! They look All the same! :/
Yeah and also set design and the actors themselves, whatever is in front of that lens. Right now the people I'm enjoying a lot are Mitchell Brinker, this guy is keeping it real when it comes to creating an image for motion picture.
110% (btw I think I know you right?) I think it will slowly fade out and we'll go back to more of that early David Fincher (and James Cameron) look where the look is more based on the color science of the camera rather than completely changing it to something it isn't. Don't get me wrong I still enjoy a proper film emulation, I just think maybe it should be more diverse. We should probably look at films in the 70s/80s and how they looked like because those are great looking films even thou they weren't printed on Vis3/2383. But their looks are so memorable, think of The Exorcism, Indiana Jones, The Omen, Taxi Driver. If anything we should try to revive 'DEAD' film stocks that would look amazing rather than going for Vis3/.2383 all the time. Perhaps imtee and Snook would agree in some aspects.
It would be great some other stocks like Ektachrome 100D or earlier version of Vision (1/2) brought back to life.
