FUJI Eterna 500T (8547) Negative Emulation WHAT’S INCLUDED? • 8547 Profiled against a RED Helium8K in REDWideGamutRGB & LOG3G10 with a WhiteBalance of 3200K • 8547 + WB Same profile, but with a Chromatic Adaption OFX in front for shots with RED Helium8K, but a WhiteBalance of 5600K • 8547 + CST Same profile, but with a Color Space Transform OFX in front for con verting any camera to RED, for shots with a WhiteBalance of 3200K • 8547 + CST + WB Same profile, but with a Color Space Transform OFX in front for con verting any camera to RED, for shots with a WhiteBalance of 5600K HOW IS IT BUILT? We shot some charts with a RED Helium 8K and some FUJI Eterna 500T (8547) motion picture film stock. As the stock is a T(ungsten) stock, we set the whitebalance of the RED to 3200K too. After doing lots of research I built a very simple and easy to use Power Grade which works without any third party tools within DaVinci Resolve. It will get you about 80% close to the real film stock. If you want to learn more about this, click the link below: https://www.demystify-color.com/filmprofiling HOW IS IT BUILT? The most important part of this profile is the matrix (Node 1). You can play around and alter everything and/or disable as you like. As long as you like the result, but in my opinion this matrix does the heavy lifting and is the most important part of this profile. So I’d leave this one as untouched as possible. The second node (Node 2) adds a bit to getting the colors matched more closely and handles the contrast of the profile. The Tint node (Node 3) is completely optional. It will give you a sightly greener White Point and some Reddish/Magenta in the lower end. But more on that one later on. Remember, this is a Log To Log emulation. It works best in combination with a FPE (use the ones shipping with Resolve; in the LUT folder “Film Looks”. HOW TO USE IT Most of the time I use this compound node very up front in my node-tree. Just do your exposure correction before this node (and maybe some workflow related things like halation, grain, etc.). Below is an example of my best practice. But always feel free to do some testing and trial & error. Use whatever method that suits you best and gets you the desired result. Also you can think of it like all the manipulations you do before the Fuji emulation is more or less how you captured it in camera. Everything after is DI. So depending on the look you can do balancing, contrast & sat before too. HOW TO USE IT If you didn’t shoot with a RED in REDWideGamutRGB/LOG3G10, I pre-built a setup with a Color Space Transform OFX before the negative emulation. You’re able to use this one just in case you do not like the result if you’re using the emulation only. Just set your input color space and gamma right (according to your footage; default is S-Log3) and you’re ready to go. HOW TO USE IT Last but not least there are versions for daylight scenes too, as this stock and profile is for 3200K. I encourage you to try the negative emulation without the WB (=White Balance) node on daylight shots too. Especially in sunset shoots this can give you really lovely results. But again, as with the CST. If you don’t like the result - use the WB version. Here you find a Chromatic Adaption node in front of the emulation. Normaly the default setup should work just fine, but again. Feel free to play around! HOW TO USE IT Quick side node: The “Tint” node in the emulation will give you slightly greener highs and a bit of reddish-magenta in the lows. This was a detail of the stock, but I guess it’s because it has been expired for quite some time now. Anyhow I really like the results of this node on some shots while on others it’s too much. You can either turn it off if you head inside your compound node and/or add a node afterwards and clean up your shadows with the LOG control if you just want the tinted highs but not the blacks. Also you can always alter the curves (for example pin the points back to their original neutral position if you hold shift + drag the point). BONUS VERSION With this update you’ll get another approach I find quite useful and gives me great results. This emulation is crafted from a different exposure bracket of the same Fuji stock and emulated a bit differently. First off I used the Color Space Transform OFX to convert from REDWideGamutRGB/Log3G10 to AlexaWideGamut/Log-C. This gives me a better gamma curve response for the technique I’m using for this emulation. Next I splitted the luminance and chrominance of the signal and used a 3x3 Matrix on the chrominance part only. Afterwards I matched the tonal range for R, G & B separately. If you work with footage from another camera just alter the CST accordingly. QUESTIONS? info@demystify-color.com
