GE1031 - Creating a Film in Theater Experience
TLDR - Are we going about creating ‘Film Looks’ all wrong? What are missing about the process with tools like Film Look Creator or Dehancer or any of the rest.
Prerequisite Downloads?
I don’t have anything to download right now… Still working out how best to optimize my fusion comp and consolidate it down to a macro effect that can be used outside of fusion. Check out my other content on the Dye Simulator as a prerequisite primer on the topic. Secrets of Film Emulation
About this Project
Coming from YouTube - Content on this page has been updated 10.30.24
As the blurb above says, I’m still collecting content on this topic of Film emulation and will be updating this blog entry as I gather more test images and other data.
Ways in which film as been modeled for digital cameras and workflows.
As Dehancer talks about their process, they took film examples and printed them on paper. That film paper was then scanned and used to generate the math in a particular color space to try to match. Other methods would be like the Yeldin approach of doing extensive testing with cameras to shoot with both film and digital and then create a custom 3x3 matrix to match the digital to the film.
What I am trying to do…
So… in a normal digitized workflow, our white point and luminance are tied to what was captured in the camera. But in a film process that is not the case. Film stocks are exposed to light and activate layers of Cyan, Yellow, and Magenta. This exposure is based on the spectral sensitivities of Red Green and Blue wavelengths.
Film stocks once exposed and processed have three layers of various amounts of density or opacity for which light can pass through. The capture stock and the print stock each work together in concert to make the final image for Red Green and Blue layers.
In the theater, you have a projector that passes light through these layers, and the projector light is tinted by the density/opacity/sheerness of the film layers. Where the layers are completely opaque we have shadows and blackness where they are sheer and pass through we have the light of the projector.
What I’ve set up is a fusion composition that uses a couple dctls one being the Dye Simulator that breaks the RGB signal from the camera into Red, Green, and Blue layers that have opacity keyed into them by how the Dye Simulator process the signal modeled after the spectral sensitivities.
In the video above I’m using my model for Kodak 5384 as the capture/negative stock and Kodak 2383 as the print stock.
On the color page, I bring these layers back together and have them sit on top of a generated projector light. The end result is what I believe in its current state when your looking at your monitor as if it was the projector screen in a theater having caught the light from the projector and reflected back to your eyes in the seat.
Enjoy The Content? Consider a Donation!
Life is free, but it costs to live in society. While I aim to provide extended content from my YT videos for free… it is always nice to get a cup of coffee or a nice scotch while paying for domain services and what not.