u/VaBullsFan

Negative Stock: Kodak Kodachrome 64

Print Stock: Kodak 2393

Sorry for the slight wobble as I shot this handheld.

Shot on iPhone 17 Pro in Prores RAW opengate using final cut camera using auto settings and desqueezed in post

Side Note: https://a.co/d/0gdD7SA2 I got this case on Amazon on sale for $15 US comes with plates for both 17mm and T-series mounts as well as a plate for mounting a 67mm nd filter.

Thoughts on the Lens:

Coming from the freewell 1.33 anamorphic lens, this is much lighter and smaller so unlike the freewell, I can still use magsafe accessories with it on.

Although not used in the video above I also purchased the 67mm filter mount and in my brief testing didn't notice any kind of vignetting, weather permitting i'll test this out further tomorrow.

I dialed back that slight green my earlier post and added some blur and grain to try to better match it up from a textural aspect.

here's a link to the original video:

https://www.pexels.com/video/man-talking-on-phone-at-work-10374925/

Here's the link in case anyone wants to check out spektrafilm.

https://spektrafilm.114c.de

The before is rec709 adjusted for exposure as the original clip is very dark, The after I used resolve's kodak 2383 using ACES instead of cineon film log, but i turned on ACES parametric gamut compress, something I haven't seen anyone mention when using ACES with the FPE luts, it particularly help with artifacting, especially with the red lights in the upper left corner.

I used Resolve's film look creator as my input transform my iphone footage from apple log to Davinci Wide Gamut and used an Eastman Kodak 5247 Lut I got from here: https://ntown.at/shop/ntown-ntek-1047-filmstock-5247-emulation-lut/

For this lut, you will want to transfrom from DWG to Canon Cinema Gamut/Canon-Log 2, apply the lut and transform back to either DWG or to your preferred output colorspace.

I also used a technicolor DCTL that you can download here: https://henrybobeck.com/dctl/TechnicolorPalette

I also used the new cinefocus tool in Resolve 21 to get the depth of field.

Ok so for this grade I actually used Resolve's film look creator as my IDT, using the built-in colorspace override to take it from apple log to DWG, and starting with a clean slate setting, made my adjustments, hoping it would look a bit more "baked in". I used a eastman 5247 lut in a later node and used Resolve 21's new cinefocus tool to add some depth of field.

I like that Resolve treats RAW photos the same way it treats RAW meaning, you can set up your image workflow the same way you do for your videos.