 Hello and welcome again and this is an interesting series. Please take all your land from here and apply it to yourself because I try to self-improve and also work on things from my processes. This is not by any means the make all and be all but it's just one of those experimentation that happens in my spare time that we get like fine magic and see how we can apply them to improve our imagery, our process because it's a self-journey of discovery and on the table of today's discussion we'll be discussing how we would like to take diffusion from the production workflow. This is a Mitchell B diffusion here that we should like using a matte box and how we can take that and put it in post and we'll be using Resolve as our main pipeline application in exploring this talk. I shot a couple of test footages with some filters I have in my kit and some of the grades that I actually enjoyed that have trained my eyes to be able to identify. Cut them together and see an A, B and C. Can you tell the difference? What are the benefits of taking diffusion and actually working on it on set? I like that because it helps you treat the process the way you treat film. You know when you're rolling on film there's no delete it or make the card available for more space what you have is what you get so with diffusion you are committing to it you get so you have to be serious minded about it but taking diffusion and put it in post it becomes it gives you freedom apart from the fact that you can change things but you can in prep use that to be able to craft what you will call the look you get it now becomes one of the tools you can integrate into the look apart from the experimentation the choice of lenses and everything that can happen. Also some of the things that you can actually weigh as the benefits to actually taking diffusion into post. There's a small company called Video Village that actually has something called Scattered if we quickly take a look at what I've done here like you can see I just have like a clear there like all the footage is whereby we have like black satin and some other grids of diffusion is going to come up which we're using comparing this but it's like the clear footage and on this we just have a simple notary not in very elaborate something like the exposure CDLs whereby we'll do color correction we created like a color space transform pipeline to be able to employ scatter into this so on that we'll just actually have that come in here whereby we can actually see what's going on right then on this note we get to introduce scatter so when I actually turn it on you get to see that applies a grade of diffusion so we'll just randomly run through a couple of diffusion right and in the end we can compare as I go on we can compare the results and you get to tell me in the comments how you feel about it and if this is helpful to you or spark something in your brain you could actually just leave a thumbs up subscribe leave a comment below and share this video so let's get into it so I would enable the note scanner now and if we're going through it I would turn on the effect so we can like see more of it right now it's turned off so right now it's mapped to an aero loxic pipeline using like color space transform on it and but it has other gamma curves that are available from accc t to black magic to canon lock 2 and lock 3 dji cine davinci wide intermediate like all the camera curves are like actually on it you get so you can actually apply what's native to your camera I actually did this because when recording I created a custom show lot that I used on my c70 to just record the clear test so it's already coming in with a rex 709 look and since like you can see it has like an inaccurate rex 709 look here right that's why I'm actually like using like a cst pipeline to be able to like accommodate for this so for now we'll leave it as a loxic so right now it's set to black promise and you can see this I'll toggle it off and on um I'll turn off the notes so the picture becomes big so if I toggle it off you can see what it does to the highlights and how it raises the contrast a bit you can see how that affects the image so you can actually tell how much of the intensity this would at the quarter level if you want like dial it up to taste right you can actually make it like a lot more dense and you can see how it affects the image now with and without and this could be like a plus two strength if you're actually working on set like changing filters in post you get it's quite interesting and fascinating because it eliminates the whole change the filter this way the close up match it make sure you match the filter and you can like really should pick up the speed and when you get into post production be able to dial it but there's a caveat if you're the person who shot it and you're not the person who's going to sit in post to be able to establish this workflow then all of it is for nothing it's not going to cut through if it's going to be hand off to the person there's no guarantees that the person's using this pipeline or this workflow so all of that just goes out the window that's like the big caveat but if you check the other filters there I would reset the intensity um let's see reset that back to one I believe there is a hold up for a bit see if I can access that okay great um yeah we'll just reset this back to one now if we look at it we have like black diffusion we can go in and we have other effects like the black frost what it does to um the skin and you also have um focal lens which you can go in this one we're shooting on a 43 so that was what it was because I used the dual lenses to be able to like make this test when I was working on this um this was a 43 so you can match your focal length and with compression so you can actually be true to what you actually have and I left the frosted bob that we use like hairspray to make it look all that advantage you'll be able to also get some highlight into frame um if you enable the highlight you can choose how it behaves around that what it does to the highlight and what you can see what it does how much of the color retention what's the cutoff that happens there what's the radius you get so on the highlight recovery we can get in more colors into it if we lower the cutoff and we can actually um clip it off depending on what um you intend to it also has highlighted adjustments so if the highlight is really looking out you could actually work on how that actually um plays around but this was shot in such a safe manner that you could clearly almost not see the difference because if we crank that to like the top of it you'll be able to catch more but just getting back into most of what the filtration has in stock we also have other options right um whereby you see the classic soft effects and it has like it has different strength if I go to strength of one and if I turn it off and on you would be able to I could zoom in uh okay there um let's see if we can find yeah so this with it on so that's like it on on the so we can see what that looks like right when we go back we can clearly um see what it adds to it the softening that it actually brings into um versus without if we check all the effects such one of the interesting ones that I actually like is smoke because it gives like this atmospheric presence and I've been like messing around with it for a bit but this does not transfer into like a lookup table or some kind of this detail that you can like bake into the camera you know it actually reads most of what you have and go off it so it's not like you can put it into like a show lot or some of those kind of things you get um you can see what smoke does how it actually adds like haze to the entire um footage you get and you can see I just like by working the slider would you be able to like tell what it does you can make it more intense and you get like a lot out of it but what is what is funny about this is if this is actually this great because the only telltale sign you know something like this didn't happen because in real life if this was happening and you had like a heart source coming through maybe from the background of the girl it's going to create like a real beam as the scene is it's going to set it out straight as though like there's this um volumetric quality of light that's actually happening so um I'll just put up a bunch of footage between the clay and the smoke and the rendered footage so I'll outlabeled them right with what was shot and what was against it and you tell me the comment do you think this is great enough to take into the field do you think it will suit into your workflow so in the end it just comes down to preference taste and what works for you you get the others like the Mitchell B um diffusion you can see how it softens it a lot as opposed to like I'm working the slider so I'll crank it up to the highest so you can probably catch it and I'll turn it off you can see how it affects the sharpness of the footage so if you're working with very sharp lenses like you can like just dial it off to taste maybe there's like a split difference between a grade of B and a grade of C that you want like explore this gives you the opportunity to be able to do that so tell me in the comments it's got to work to your attention does this speak to something that you would introduce into your workflow um idea better with you you found out using that I do not know so please share me put me a process and we all get to learn together but this is just something I've been tinkering with for quite a bit though and let me know what your thoughts and your take is on there so yep until next time when I get to see you improvise, adapt and overcome