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The only drawback is - the more layers, the longer Vegas (which I use) renders it.
Yes. It takes about 2 times as long with my computer. But the end result is clear to see tbh.
The only drawback is - the more layers, the longer Vegas (which I use) renders it.
Couldn't quite work out how to apply this to Resolve but found another method to adjust grain via luminance-based mattes, gives a nicer textured look to the image rather than simple overlaying. Was not aware of the intricacies of grain behaviour before, many thanks for introducing the topic and providing links to the samples!For those that want to add film grain to The Hobbit, or Star Wars prequels or any ugly digital movie.
What you need is to download a film grain fragment (for example for free here:
https://pixeltoolspost.com/pages/free-film-grain )
Set this as a layer on top of your movie and set it to 'overlay'. Copy paste it untill it covers your entire project. Set a matte track on the Grain layer to Luma.
Make a duplicate later of the movie and put this ON TOP of the film grain layer. Adjust these settings on the duplicate layer: Make it black and white -> invert it -> raise exposure to 3.0 -> Lower peak brightness to 80 -> Raise shadows to 50 and whites to -80.
Put the movie layer on the bottom, the overlay in the middle and the duplicate on top.
Changing the values of the duplicate layer will change the manner in which the film grain affects light areas of the movie, feel free to experiment but keep in mind: Real film doesnt affect very bright light areas.
Couldn't quite work out how to apply this to Resolve but found another method to adjust grain via luminance-based mattes, gives a nicer textured look to the image rather than simple overlaying. Was not aware of the intricacies of grain behaviour before, many thanks for introducing the topic and providing links to the samples!
You have to keep in mind in motion it will be constantly moving, grain isn't stationary. But it's probably as good as it will get when it comes to fake grain.Well, at first glance ok, but closer inspection when displayed in full size reveals this grain doesn't really look like grain...
It looks familiar though, I had similar results with some overlays.
Yeah thanks for the heads up. I had to zoom in mega far to see what you meant but you are absolutely right. I work with a 1080p screen so it's hard to judge the actual grain lol.Yes! Now it looks really good.
I had similar issue with some overlays in 1080p and there was similar high (not THAT high though ) bitrate solution needed.
Couldn't quite work out how to apply this to Resolve but found another method to adjust grain via luminance-based mattes, gives a nicer textured look to the image rather than simple overlaying. Was not aware of the intricacies of grain behaviour before, many thanks for introducing the topic and providing links to the samples!
I use Resolve's inbuilt grain effect and have found it very good. Mostly I’ve been using it to match grain levels between different sources to better intercut between them.Do you know of any tutorial on how to do this? I have DaVinci Resolve and want to simulate grain as realistically as I can.
Also, do you know how good Resolve's built-in grain effect is? It is adjustable, and I believe it's possible to adjust how much it shows in various parts of the image (midtones, highlights, etc). I've heard that some Hollywood productions use Resolve's grain effect.
To mimic the way grain appears on actual film you’d want to increase it in the highlights. reduce it in the shadows and leave the midtone slider largely where it is.
I thought real film is less grainy in the highlights than elsewhere?
I thought real film is less grainy in the highlights than elsewhere?
I wonder if it depends on whether stock is positive or negative?I thought the exact the same thing for the longest time! But I’ve recently learned that this is more how video noise behaves, not grain on actual film stock.
I do now use FilmConvert Nitrate because of the system it have to manage the amount of grain you add in your image. But after this I learned how to add grain layering like you do.
For me, the trick is simple and it is to add more grain into highlights than in the shadows. In negative film (natural grain) blacks were almost clean of grain because they were not exposed to the light. I do a mask on the matte mixer with the qualifier saying that matte (grain) should not affect anything from 0 to 60% luma and making a beautiful big gradient in that point.
I put you here a great tutorial I saw time ago with quite the same method I used (only for the grain)
I wonder if it depends on whether stock is positive or negative?
I found this comment by someone called danirosi_ on Reddit:
I don't know why there is a reason for people to think MORE grain in highlights is the way to go, but there are plenty of cinema scans made, and they all show less grain in highlighted areas.Definitely sounds like that could be it! Since the vast majority of feature films are shot on negative stock, the look we should be trying to emulate is less grain in the shadows and more in the highlights.
I’ve been trying to see if I can observe this on some of my recent purchases now that I know to look out for it. But with DNR being slapped on a lot of titles these days it can be difficult to know what the original grain structure looked like anymore!
Keep in mind that movies are projected on positive stock, though. Shot on negative, then printed onto positive.Definitely sounds like that could be it! Since the vast majority of feature films are shot on negative stock, the look we should be trying to emulate is less grain in the shadows and more in the highlights.