Emulating film is one of the most common tasks you can undertake as a colorist, pretty much no matter what type of videos you're coloring. The better you know film, the better you can emulate it. But also, the better you know film the better you can use the decades and decades of look development that went into the industry standard film stocks of Hollywood and movie-making so you can deliver incredible looking motion pictures for your clients and for movie lovers. Join Cullen this week as he shares his knowledge on both film and film emulation, and get your questions answered along the way!

2:30 Evaluating a Film Emulation LUT and adapting it to a color-managed workflow
13:17 Using Fusion instead of the color page to emulate film
20:06 Why didn’t you convert to cineon before applying your film LUT?
21:00 Do you convert HLG to Cineon before you start grading?
23:23 When your timeline settings are set to Rec709, and your CST is set to transform your footage to rec709, are all of your nodes before the CST working in rec709?
32:39 What about bleach bypass for film emulation?
33:48 If you debayer BRAW film log into DaVinci Wide Gamut in the camera raw tab, does it work the same as using a CST to do the same thing?
35:31 When emulating film, why do people try to emulate the film process, negative to positive, when digital is completely different? Shouldn’t the process not matter?
41:57 What’s the difference between print and negative emulations for creating LUTs?
50:55 Can you talk about emulating film texture?
58:32 If you can’t build a good PFE yourself, what tools should you use?
1:01:36 If you soften the image before adding grain will it effect the mid-tone contrast?
1:02:50 How do hue curve adjustments work differently film print emulation?

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