The best place to add the Film Grain effect is before the creative look components in the Timeline node graph. Type “grain” into the search bar to reveal the Film Grain effect, or scroll down to the Texture Group, where the Film Grain effect lives. Navigate to the Effects tab in the upper right and select the Library panel. With a film look established, let’s add the film grain node. Here our image only has film grain… …while this image has film grain along with a creative film look. Remember that if we introduce grain as part of a comprehensive film aesthetic, the elements work together in harmony with the image, and the result will feel more organic and more innate. Build your film look in the Timeline node graph. Since we are working at the Timeline level, these nodes will globally affect every clip in the timeline. Here, I’ve added some look components from my Voyager LUT pack, in this case, some contrast, a tone modifier, and a palette node, but you can also use my free Kodak 2383 LUT or any other well-built film LUT. Switch to the Timeline node graph by clicking the two dots in the center or by twirling down the name dropdown. Toggle between the Clip node graph and Timeline node graph by clicking the two dots in the center top or by clicking the name dropdown. We’ll start by establishing a creative look at the Timeline level of the node graph. Let’s set up our image pipeline in Resolve and give it a film shape before we add grain to the image. We don’t want our grade to feel imposed we want them to feel innate. So if you add film grain-a characteristic of film stock-but you have other core characteristics that don’t support a film aesthetic, it won’t feel authentic and will feel just slapped on. This image feels digital compared… …to the more filmic aesthetic of this image. Even if the end viewer doesn’t know that consciously, they know it subconsciously. If your image is very low contrast or somehow feels digital, then no matter how artfully grain is applied, the image will never feel credible because its aesthetics do not agree with the aesthetics of a photochemical system. Ask yourself, “Do the core characteristics of the image feel like a film image, or do they feel fundamentally digital in nature?” If you’re looking to add film grain because you want your images to feel like they were shot on film, it’s essential to realize that grain is just one piece of the film look puzzle. So in this article, I’ll cover how I impart film grain in my images using DaVinci Resolve and share the principles that guide my process. While I don’t use grain on every project, it is definitely a tool in my creative arsenal that I need to be able to apply well. All this debate can feel overwhelming, but it reveals what a hot topic this is in modern filmmaking. How to get it, the best way to get it, when to use it, negative film grain vs positive film grain, etc. There’s a ton of conversation in color grading circles about film grain.
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