Inspiration & Motive
The majority of films made on film up to this point have been reprinted on a very particular film stock before being released. The 2383 Kodak Stock is used to print all of the films shown in the following illustration. All three images, while displaying a distinct mood (in terms of color), have the general appearance and features of Kodak 2383 Print Film Stock, despite the fact that they were taken at separate times. In the course of dissecting the appearance, we not only looked at the film stock samples, but we also looked at all of the films printed on 2383 Stock with great attention to detail.
Dunkirk, Dir: Christopher Nolan
Cinematography: Hoyte van Hoytema
Colorist: Walter Volpatto
Distribution: Kodak Vision 2383
Tree of life, Dir. Terrance Mallik
Cinematography: Emmanuel Lubezki
Colorist: Bryan McMahan
The Master, Dir. Paul Thomas Anderson
Cinematography: Mihai Mălaimare Jr.
Colorist: Walter Volpatto
Distribution: Kodak Vision 2383
What is Print FilmEmulation LUT (PFE)?
Print Film LUT simulates the post-print appearance of your image before it’s actually printed on a target film material. Before printing, you can see an almost accurate representation of the film’s density and color response on your grading monitor. Applying a print LUT is one of the best and easiest ways to get a film-like appearance in digital footage. Color correcting and all the essential processes will still be necessary, but the results will be far more impressive and complex than any color-grading LUT you’ve ever used.
We’ve taken a step further by reworking the Print LUT into a 2383 Print Film Davinci Resolve Power Grade. It’s fully editable and offers a more powerful palette for your creative vision.
Before: Standard Rec. 709
After: FilmForever Vol. 2, Print Film Base Rebuild Power Grade
Halation: Manual
Grain: Vol 2, Manual
Before: Standard Rec. 709 (CST from Red Wide Gamut)
After: FilmForever Vol. 2, Print Film Rebuild Power Grade
Negative LUT: Kodak 5219
Halation: Manual
Grain: Vol 2, Manual
Why FilmForver™ PowerGrades over LUTs?
On December of last year, we began working on the project in order to provide the most technically advanced yet adaptable 2383 emulation. For our customers and their clients, it should make the entire film seem more attainable. As a result of this, you’ll have the greatest amount of leeway for future creativeadditions to the look.
FilmForever Power Grades, unlike most aggressive power grades, are clean and use as few tools as possible to achieve a well-baked appearance. Not every filmmaker wants strong film-like hues, so we created Emulations to fill that creative void. Using FilmForever has the ultimate advantage of being built from scratch, allowing you to add or remove Print Film qualities from our Power Grades as needed.
Before: Standard Rec. 709
After: FilmForever Vol. 2, Print Film Creative Rebuild Power Grade
Negative LUT: Kodak Vision3 500T 5230 (Colorist Toolkit Vol. 3)
Halation: Manual
Grain: Vol 2, Manual
Before: Standard Rec. 709
After: FilmForever Vol. 2, Print Film Creative Rebuild Power Grade
Halation: Manual
Grain: Vol. 2, Manual
Before: Standard Rec. 709
Who are these for?
FilmForever is for colorists, filmmakers, and creators who love shooting on film. Sometimes you shoot on digital and want to match your grade with your film project. But surely such a product renders more than just matching up color grades. The next section explores all the creative possibilities while working with FilmForever™ Film Emulation Kit.
FilmForever Vol. 2, Print Film Base Rebuild Power Grade
Negative LUT: Kodak Vision2 500T 5218 (Colorist Toolkit, Vol. 3)
Halation: Manual
Grain: Davinci Resolve
Creative Looks using FilmForever™ Emulations
Everyone is chasing a “Cinematic” image. But the word “cinematic” has lost its meaning over time. After years of technical analysis and thousands of color grading forums, we’ve managed to define “Cinematic” in a practically achievable way. In very general terminology, “Cinematic image” is an image having key visual qualities consistent with printed film. Why printed film? Because for decades this was the primary medium for consuming cinema. The aesthetic of “film” is inevitably linked to our collective recognizable palette for movies and thus to our idea of “Cinematic”.
Check out a couple of stills from our recent projects utilizing the FilmForever™ Power Grades. Every footage was digitally captured.
Grades used: FilmForever Volume 2: Base Rebuild, 2383 Creative, Only Subtractive, 2383 3-Strip Rebuild.
How to use FilmForever™& what's included?
In order to make sense of FilmForever’s large number of Power Grades, let’s take a closer look at what’s offered. There are four grade styles at the primary level: 2383 Rebuild, 2383 Creative, 2383 3-Strip, and 2383 Technical. Let’s examine each style in further detail.
2383, Rebuild Power Grade
This is by far the simplest re-build of the 2383 LUT. A really robust starting point if you are aiming for a minimal grade with minimal effort. You can manipulate the 2383 core grade itself to your liking within the building blocks of the Power Grade.
2383, Creative Power Grade
This grade is the same as the base “2383 Rebuild” along with a “creative” node in the initial blocks. This node shifts the entire palette to a much more modern-minimal film color palette.
2383, 3-Strip Power Grade
This one incorporates Technicolor’s 3 strip process in place of the usual subtractive color technique. In earlier days the image used to be shot on 3 different channels and was later merged into one during the development process. In our Power Grade, 3 channel process works on a channel level to provide a detailed replica of technicolor’s lab processing.
22 Page User-Guide Included
We’ve included an extensive 25-page user guide in the zip file that elaborates each and every node in our FilmForever™ Power Grades. Everything from setting up to finishing touches.
For Non-Resolve users
If you don’t own the studio version then we have recreated our base grades within non-studio version capabilities. They should work just fine and give you the freedom and flexibility of our main Grades.
Pro Features
- Negative Film LUT Node
- Non-destructive Subtractive Color
- Creative Nodes
- Green’s Fix
- Tone Manager (Warm vs Cold)
- Extensive Manual Control
- 11.3 GB Film Frames & Textures
- Luminance Grain Emulation
Before: Standard Rec. 709
FilmForever Vol. 2, Only Subtractive Power Grade
Negative LUT: Kodak Vision3 200T 5213 (Colorist Toolkit Vol. 3)
Halation: Manual
Grain: Davinci Resolve
FilmForever™ Film Emulation Power Grades, Vol. 2
- April Update Included (Volume 2)
- 16 Film Emulation Power Grades
- Subtractive Color, 3-Strip Color & Creative Color
- For Studio & Non-Studio Versions
- 20+ Pages detailed User guide
- Non-Destructive Processing Pipeline
- 4K & 8K Film Textures, Overlays & Frames
- Built from Scratch for Maximum Flexibility
- Total Size: 20GB
$40
Original Price: $99
- Best Seller
FilmForever™, Vol. 2 + Ultimate Colorist Toolkit 3.0
- Entire FilmForever™ Emulation Kit, Vol. 2 (20GB)
- Kodak & Fujifilm FilmNegative LUTs (For FilmForever™ & Rec709)
- Proprietary Time-Based Algorithm LUTs (Refined)
- Contemporary Tonal LUTs
- Technical LUTs (Log to Rec 709)
- Bonus LUTs (Basal, Blockbuster &, Filmlike)
$60
Original Price: $129
FilmForever™, Vol. 2+ Colorist Toolkit (3.0)+ Power Curves
- Entire FilmForever™ Emulation Kit, Vol. 2 (20GB)
- Entire Ultimate Colorist Toolkit, Vol. 3
- 12 X High Color Fidelity Color Grades
- Power Curves (Different from Power Grades)
- 3 Abstract Grades
- 3 Bonus Grades
- Cross Platform Compatibility
- Fully Customizable Grades
- Total Size: 21GB
$80
Original Price: $199
Updates:
FilmForever™ Volume 2
After working on the feedback from major colorists, we’ve released a Volume 2 update to the FilmForever Power Grades. The new download files have the updated Zip file as “FilmForever™ PFE Volume 2 Power Grades”. There’s an essential readme file to explain the major updates in the PFE Node Tree. Major changes include:
- New Halation Compositing – More organic as compared to Volume 1 halation.
- New Grain file in essentials – Digitally worked on in terms of grain sharpness for a better render of film grain,
especially for non-studio users. - Advanced grain compositing – More pleasing film grain output.
- (Beta) Negative Color Emulation – Emulate the
negative film-like qualities if you are planning for a vintage look. - Tests on Arri Isabella shot.
FAQs
Power Grades are a really quick way to get your grading done inside DaVinci Resolve. They are pre-arranged nodal structures of color grading assets which can be quickly applied to your shots which would otherwise take several hours to achieve.
Power Grades are a resolve-only asset. Power Curves are color grades created by Colorist Factory targeting mainly Premiere Pro & FCPX users, to empower creators beyond LUTs. Power Curves are specialized presets giving the freedom which LUTs can’t. On the other side, Our Film Print Emulation’s Power Grades meticulously simulate the film-like appearance in digital footage, giving you a Film Stock look like no other.
Keep in mind that our Power Grades are compatible with Davinci Resolve only, while Power Curves are compatible with Premiere Pro, FCPX, and Resolve.
Print Film Emulation simulates the Film Print look of the target Film Stock material. It provides a series of meticulously detailed grading nodes that simulate the entire chemical process a film undergoes, providing a fairly accurate post-print film stock look to the digitally shot videos.
Power Grades are exclusively built for DaVinci Resolve only.
They can be easily imported in the gallery section with just as easy as a drag-drop. From there just apply it to your footage by right-clicking and selecting “Apply Grade”. Do make sure you import the file extension “.dpx” and not “.drx”.
It’s because of the missing files. Make sure you first Import the Film Essentials provided in the pack and add them to the media pool as background matte.
Make sure you have imported the Film Essentials provided in the pack and added them to the media pool as background matte.
Make sure you have properly defined Color Space Transform in the CST Main node.
And import all the files provided in the Film Essentials folder.
No. We got it covered. Just make sure you are using the latest version of DaVinci Resolve.
Absolutely yes. We have provided a separate category of the same premium Emulations which can be used on Non-Studio DaVinci Resolve.
All of the cameras supported by the DaVinci Resolve’s Color Space Transform are supported.
This product is a result of hundreds of hours of efforts and has been in development for more than a year. We can’t offer a complete refund. But we can offer a partial refund of up to 50%*
