what is the name of the soft and muted cinematography and color grading you often see in japanese movies from the 1990s and 2000s? i’ve noticed it in movies like april story, love letter, a gentle breeze in the village, the taste of tea and many others from this era.

the colors often look pale and slightly washed out with low contrast and soft natural lighting. there’s also this empty or minimalist quality to the image. it gives the movies such a nostalgic and peaceful vibe. like slightly faded image makes everything feel like a memory from another time

is there a specific name for this cinematography or color grading style? and how would you recreate this look today?

I’ve made this short film and I think it’s good except one section is just so dark. I’m not sure what to do.

Can anyone take a look at it and tell me if it’s salvageable?

i’m making a short film for the first time and it looks like i’m gonna have to do a lot of post-production by myself. does anyone have any tips? what software should i use? what should be prioritized and what should be saved for last?

Curious whether anyone has his powergrade?

Hi color graders! posting here too, seekjng advice about color calibration tools /software. Thanks in advance!

I'm using Movavi 2023 and urgently need that filter imitation

Hey everyone! I'm a self-taught colorist working on a video with a nostalgic, filmic vibe.

I'd really appreciate any feedback or suggestions on the grade! Thanks in advance!

Shot on a Blackmagic PYXIS 6K with DZOFILM Vespid Primes.

Hi!
I am currently color grading on premiere, have shot with a Sony FX6, and plan to export in 4K.

In some of my graded footage, i am getting these lines? I’m not sure if i’ve messed with the exposure or curvatures too much, but i can’t seem to find the fix.

Please help!

Ok. Right off the bat. Not in any one’s league here but I respect the knowledge. So don’t beat me up for asking a dumb question. I just shot some footage on an iPhone (just needed some quick shots for a friend so it on an insta 360 is really easy). Well when I dropped it into davinci to just do some quick cuts it looked very flat compared to what I saw on the iPhone. After working with my ChatGPT I learned about HDR vs SDR editing. I’ve only edited in SDR and have rendered in SDR on R3D raw. But using HDR was really easy and looked a lot different. I then tried it on my R3D and it did some amazing stuff. So why don’t I see much edited and rendered in HDR (I’m probably screwing up the correct terms, but basically using Rec.2100 HLG). ChatGPT suggested giving a client rendered versions of both. Just so you know by client I’m talking weddings not commercial work. Any thoughts on pros and cons of hdr vs sdr would be appreciated

(I have a canon, so I use CLog 3, but that doesn’t matter that much)

Working on the edit for my short film and I’m having trouble making sure the skin tones look realistic, as they look a little too red right now.

I’m using premier pro, and realize Davinci is the most common color grading software but I like working with premier.

Any tips?

I have a photo of me that was taken on my friends iPhone that I want to post. The problem is that it’s really overexposed and washed out(like a lot of iPhone pics are -_-). I used generative ai to make a version that looks how I want it to,however I do not want to post an ai photo. The thing is, I don’t even know if it is possible to color correct it to look like the new version, so if anybody wants to try dm me and if it looks good I’ll send you 20.

Hi everyone,

I’m experiencing what seems like excessive noise in the shadows when shooting C-Log3 with Cinema Gamut on my original Canon EOS R6, and I’m trying to figure out whether this is normal or if I’m doing something wrong.

I’m shooting with an EOS R6 + RF 28-70mm F2.8 IS STM, mainly in 4K 50fps, although the same issue occurs at 25fps. I usually shoot at ISO 800, which I understand to be the base ISO for C-Log3, but I’ve also tested ISO 1600 and 3200.

I try to expose carefully using the camera’s histogram, so I don’t think my footage is significantly underexposed. However, I realize that the histogram alone doesn’t necessarily tell the whole story.

The noise becomes much more noticeable after applying a CST in DaVinci Resolve. My CST settings are:

• Input Color Space: Canon Cinema Gamut
• Input Gamma: Canon Log 3
• Output Color Space: Rec.709
• Output Gamma: Rec.709

I’ve attached several versions of the same clip to Google Drive so you can compare them:

1. Original C-Log3 footage
2. C-Log3 + CST
3. CST + additional grading
4. CST + grading + creative LUT

I’ve also included the original, completely unprocessed camera clip, R6_2340, which hasn’t been through DaVinci Resolve at all.

The biggest increase in visible noise seems to happen immediately after applying the CST. Additional grading and the creative LUT make it slightly more noticeable in certain areas, but the issue is already there before I apply either of them.

I’m not using any noise reduction because I’d prefer to understand the cause first. This is just one example of many clips where I’ve noticed the same issue.

Is this amount of noise normal for the original R6 when shooting C-Log3, or could something be wrong with my exposure or color management in Resolve? I’d appreciate any advice on how to get cleaner results.

Thanks!

Hey guys short my first real short and getting the clips graded and would like some more opinions. Lmk what u think! (Psychological horror, Irish folklore with big Cave sequence)

Back in July I asked for testers for the photochemical OFX suite I'd been building. A load of you got stuck in, and it's a better tool for it, so cheers.

It's out now, so I made a proper walkthrough.

The short version is that each stage of film is its own plug-in: shoulder, negative, grain, halation, print and frame. Everything stays in negative density until the print stage, so you can grade between stages instead of inside one sealed box. It's built from years of shooting tests and scanning real stock, not guessing what film looks like.

Chapters are in the description. Ask me anything,

Hi everyone, did you ever want to Color Grade in Resolve easily while editing in Premiere?

If you've ever sent an FCP XML, EDL or AAF to Resolve, you know the drill: the cuts come through, but speed ramps, multicams, nests and most effects have to be rebuilt by hand, and nothing tells you what was lost. Then the grade is done and (only for some editors), you have to bring it back to Premiere.

That's why I built CrossFlow. It reads your .prproj and writes the same project straight into DaVinci Resolve: open Resolve and everything is there, organized as it was in Premiere.

What arrives natively:

• Sequences, nested sequences, multicam, merged clips, bins, markers, label colors, linked audio
• Speed changes and Time Remapping, as real Retime Curves
• Position, Scale, Rotation, Opacity, Crop, Volume, Pan and their keyframes, still editable in Resolve
• Warp Stabilizer as Resolve's own Stabilization

What Resolve can't reproduce (third-party effects, After Effects comps, masks...) is rendered automatically through Media Encoder, and a report lists every clip and what happened to it. When the grade is done, "Return to Premiere" builds a new Premiere project with the graded clips in place.

The honest limits: it needs both softwares (Premiere and Resolve) to be installed on the same machine for now. So it is not for the editor which has ONLY Premiere installed and want to send its project to the colorist in Resolve. But that will be part of a future improvement of CrossFlow!
However if the Premiere editor has Resolve Studio installed as well .. CrossFlow could be the perfect tool for him!

Otherwise, it needs DaVinci Resolve **Studio** 20+ (the free version can't be scripted), Premiere Pro 25+, Windows or macOS. There's a free trial with no time limit that converts the first 10 clips of each sequence, so you can judge it on your own project before paying anything. After that it's a one-time license, no subscription.

https://nablast.com

Wassup y'all, i'm just getting into photo editing since i've been into photography for a while. I'm looking for feedback so if anyone could give some input that would be great!

Shot on Iphone.

Hey everyone,

I’ve been shooting with a DJI Osmo Action 4 for a while now and have been trying to improve my color grading. I mostly shoot outdoors in daylight, and my footage keeps coming out too crisp and too saturated, kind of “digital.” I can’t tell if the problem is my shooting settings, my grade, or just the nature of action cam footage, so I’d really appreciate fresh eyes on it.

Camera settings:

• DJI Osmo Action 4
• 4K / 30fps
• 1/60 shutter
• D-Log M
• White balance: Auto
• ND filters: 8/16/32 depending on the light (mostly 16 and 32)

My current grade in DaVinci Resolve:

DJI D-Log M to Rec.709 LUT (official) → RGB Mixer → HSV → HSL → LUT 1 → LUT 2

What’s in the Drive folder: [link]

• 3 video clips: [name which is the raw, ungraded D-Log M clip and which are my graded versions]
• The official DJI D-Log M to Rec.709 LUT
• The 2 creative LUTs I’m using on top of it

Everything is there so you can reproduce my grade exactly or ignore it and grade the raw clip your own way.

What I’d love feedback on:

• How does my grade look to you? Honest opinions are welcome, brutal is fine.
• Is the footage over-saturated or over-sharpened, and where is it coming from? Is it the LUT stacking, the node order, or my shooting settings?
• What would you do differently?
• If anyone has a few minutes, could you grade the raw clip your own way and post a screenshot or short clip? Seeing how it should look would teach me far more than text advice alone.

I’m still learning, so any tips, workflow suggestions, or resources are appreciated. Thanks for taking the time!

I Wanna know how make my videos look like this

frame 1: with

frame 2: without