This is Kodak Vision 3. It's the film stock behind some of the best movies ever made. Now imagine we can get this exact same look without ever having to touch a film camera. So the Kodak Vision 3 is a professional motion picture film stock series. It has a wide dynamic range. It has fine grain and it has a color science that's optimized for skin tones and natural colors. All of these characteristics combine really well to create a signature look, but there are some variations. The 35 mm film cameras are very high detail. The 16 mil series give a very sort of gritty vibe but still professional look. While the Super 8 is actually the most vintage and the most nostalgic. The Vision 3 series is broken down into different film stocks. the 500T, the 250D, the 200T, and a 250D. The numbers basically indicate the ISO or the film speed, while the letters T for tungsten and D for daylight actually indicates and represent the color balance. I think tungsten is like 3200 Kelvin, and then daylight is closer to around 5,000 Kelvin. So, the 500T is very sensitive. It's great for low light and night scenes. It has a cooler tone unless it's corrected with color grading. And the grain is also a lot more noticeable due to the higher ISO. 200T has a balanced sensitivity. It's great for sort of controlled lighting conditions. It's like the 500T but cleaner. And it also has softer colors than the 500T because of the reduced grain. The 250D is less sensitive than the 500T. And then the 50D has low ISO, extremely fine grain, and it's the best for bright conditions. It works great outdoors. has rich colors and has the lowest ISO, which means the cleanest image with the highest amount of detail. So, achieving this film look actually requires a combination of things that I've slowly slowly slowly I'm starting to get used to and starting to actually implement in my work. And if you hit all of these checkpoints well, you achieve the really, really expensive look that the Fision 3 actually offers. So, first off, shooting in log. In short, you make the image flat and you preserve a lot of information that might otherwise be lost. And you can actually play around with this information more when it comes to the color grading and when you get to actually push these colors around and really manipulate how they look on screen. So I try and shoot at 24 frames per second and I try to keep my shutter speed anywhere from like 160th to 180th. Sometimes I do break this rule because I shoot on lenses like this one right now that doesn't have an ND filter. So sometimes I do need to crank up the shutter speed. And sometimes that does result in very unnatural looking movements and blurs. So I guess the only thing left to do now is to recreate this on Da Vinci. So my typical sort of grading process for this consists of five key sections or compound nodes. Exposure, white balance, saturation, look, and the handheler. So, obviously with this look, I'll be using Dehancer, which is probably the best plugin I've used to get the film look. And you can actually get 10% off if you use the code in the description of this video. So, I actually do start with the Hanser first. I sort of load in the profile for my camera. And then after I've selected that, I go straight into the exposure. So, the first sort of compound node section. In the exposure, I do exactly that. I just adjust the exposure. And then in the next sort of node, I just sort of adjust the curves. So when filming an SLOG 2, it basically just has this really kind of nasty like red hue. So I just sort of mess around with the curves. The next node is very important is the white balance. Some of the film looks have this really nice sort of orange look and then some of them are a bit more cool. So in this I put everything to a Rex 709 sort of standard. By that I mean I just sort of make the whites look actually white and I don't try and make it too warm or too cold just yet. And then I also adjust the tint. So I basically adjust the levels of green and purple in the image to basically make the whites in the image look actually white. The next is a saturation. So this is basically me just adjusting the vibrancy levels. There's actually a trick if you follow exactly what I do. This is a trick to make your images look a lot more deeper and a lot more sort of vibrant. My next sort of node is just the look. So sometimes I do like to add a sort of look in any way, shape or form. So that might be me adjusting the highlights. This node is basically where I just sort of accentuate anything that I really want to sort of emphasize. So if I'm in a field, I'll probably adjust the greens here. And now we're back to where we started in the final dehancer node. And here's where you can basically adjust and select any film sock you want. So right now I use a 250D. Very good balance between, you know, the 50D and then the 500T and the 200TS. And and then I just, you know, adjust the grain. I add some hellation. I make sure it's not too strong, but there is some there. And also adjust the bloom. Sometimes I adjust the gate weave and some other sort of filmic effects. And at that point, you've pretty much got an image that's replicated. Really nice sort of expensive film look. I found that adding this effect really adds some life into your footage and it really sets your work apart from the rest.