Neil Angelo Briones

Would love to get a recent update from this. I understand monitors in the budgeted range is still wild but I think It would be nice to get constant updates and have a database of measurement reports.

It's about time you have a windows version! Definitely will check this one out!

Hey hey guys so lately I'm fiddling around with Colourlab.ai's unique Subtractive Contrast feature and I like how the way it looks. Dehancer does the same way as well with their CMY head feature. Quite difficult to explain but the shadows looks rich and vibrant and it's not that kind of "digital blacks" that I'm seeing. I'm curious if is there a way to replicate this kind of subtractive contrast effect done in Resolve? Made some numerous attempts but I cannot get the look that's similar coming from those plugins (or I'm too dumb to understand it's science) . I ended up crushing the blacks completely below zero IRE or either way making it a bit look milky. Maybe if there's a way to "translate" those RGB curves into "CMY", maybe I could get that kind of rich contrast shadows. I have no experiences on actual film stocks however, I just like the look that it gives. Hoping I could find some answers. Thank you!

Would definitely buy the plugin if there's windows!

Hello, thank you for the reply. I really appreciate it. I am aware of the tracker tools and connecting its path via transform. What I mean though is using the planar tracker since it can gather more data points available and then linked that to the paint tools. Is that possible?

@ Lesson 5, is there a way to work on the Paint Tools and Track them using a Planar tracker instead of adding a matte paint from Photoshop?

At Lesson 8 and Lesson 6, How is this different compared to the mid tone detail at the Color Page?

Thanks for this! I love Resolve's built-in grain so I prefer using this!

is there a difference between the built-in Grain in resolve vs the CineGrain prints?

Great article! Would love to see more insights, tutorials and studies of manually manipulating the LUTs in a deeper way and how the process is involved of creating film emulations