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Cinematic PowerGrade - Kodak 5207 and 5219 Emulation

Cinematic PowerGrade - Kodak 5207 and 5219 Emulation

$45.00 USD
$45.00 USD
Sale Sold out

 

The famous Kodak 5207 and 5219 in one powergrade.

Applying the Ultimate PowerGrade 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 Kodak 5207 and 5219 Print Film Davinci Resolve Power Grade. It’s fully editable and offers a more powerful palette for your creative vision. 

 

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What you'll get inside

- The PowerGrade for Davinci Resolve

- 10 Kodak LUTs

- A video tutorial for installing the Powergrade

- A video tutorial about how to use the Powergrade

- A PDF file with the installation and note explanation

Sample Images

Node Tree overview

This PoweGrade is completely rebuilt based on negative film stocks. This PowerGrade grants versatility, customization, and compatibility across various cameras, making it an invaluable tool for crafting cinematic visual styles.


It is worth noting that the PoweGrade does not simply replicate existing film stocks with technical precision. Instead, it serves as a creative tool, allowing users to develop their own distinctive film-like appearances according to their preferences. With its filmic essence and extensive customization options, Vincent PoweGrade empowers colorists to delve into the realm of personalized celluloid film emulations.


The PoweGrade node tree proves to be an exceptional asset for colorists seeking to conceive and venture into tailor-made celluloid film aesthetics.

  • Denoise

    Spatial and temporal noise reduction is applied to the footage prior to all transforms.

  • Compound

    The footage is transformed from its original gamma and color space to Arri LogC and Alexa Wide Gamut using a Color Space Transform.

  • LogC to Lin (Color space transform)

    It converts Arri log C into linear. The footage is transformed from its original gamma and color space to Arri LogC and Alexa Wide Gamut using a Color Space Transform.

  • NS matrix

    This is the core of the film emulation. It's doing the heavy lifting, matching the Alexa to film.

  • CAM WB

    Post-emulation white balance with the offset wheel.

  • Exp/balance

    Adjustments in this node should only be made with gain-based tools, the main two being the gain wheel and the master gain wheel. The master gain wheel controls exposure. Use this tool to set the correct exposure for your image and to match the exposure between shots.

  • Lin to LogC (Color space transform)

    This node uses a CST to convert from linear back to log C. Leave this node as is unless you encounter out of color clipping.The power grade is designed to minimize out of gamut
    clipping. But if you do encounter it, it can usually be resolved by enabling dynamic mapping.

  • SAT/HUE/LUM

    These three nodes are the saturation hue and luminosity components of the negative cumulation. They're the final adjustments made after the core transform performed by the matrix node. You can adjust these, however you see fit, but do so with care as it's easy to upset the balance within each node.

  • Halation

    Pair text with an image to focus on your chosen product, collection, or blog post. Add details on availability, style, or even provide a review.

  • Sharpen

    This is a compound node. The sharpening is split into full image sharpening and highlights only sharpening. if you want to increase the sharpening effect, you can make adjustments to the sharpening radius and the amount of sharpening otherwise known as scaling. I usually don't touch these notes, but occasionally I'll increase the amount of sharpening on the high note. This can add definition to the image without making it look over sharpened.

  • Film Curve

    This node rolls off the brightest highlights, smoothing out the abrupt transition at the clipping point. Without this node, the clipping point will sometimes be noticeable if the
    surrounding non clipped area has a lot of saturation. It matches log C curve to film. You can adjust this curve however you like, but generally I leave it as is.

  • Grain

    For most projects are usually leave the grain node as is, but if you want large grain you can adjust the size here. I usually keep the value at 0.450 as that matches 35 millimeter
    grain. The value of 0.556 is closer to 16 mm grain. and 0.7 and beyond is closer to 8 mm.

  • LUT

    This note applies the Kodak to the output luts. The lut comes in three main versions, each featuring a different curve.

  • Tints

    This node adds a hint of the print light tints. Most of the time I leave this as is.

FAQs

1. What is a powergrade?

A Powergrade is a node structure that is used to create a color grade look. DaVinci Resolve Powergrades are fully customizable and non-destructive so are preferred by colorists who are looking for flexibility and customizability. If you apply a Powergrade to an image, you can see the complete node structure and then change every single parameter of a node. 

2. What is Film Emulation?

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.

3. What software is Power Grades compatible with?

Power Grades are exclusively built for DaVinci Resolve only.

4. How to import the Power Grade?

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”.

5. What camera are supported?

All of the cameras supported by the DaVinci Resolve’s Color Space Transform are supported.

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