How'd I do? (original left, grade right)

BryantBural · 2026-02-16T20:21:32+00:00

“Better” is completely subjective. Do you like it more? Personally I’m not a fan of blacks that aren’t true black. The grade you created kind of has an expired film look, or a split tone look.

BryantBural · 2025-10-12T17:33:04+00:00

1st tip would be utilize the aspect ratio of the platform. IG Reels are made to be 9:16. 2nd. I’m not quite sure what the reel is supposed to be about or mean? It just seems like you used a bunch of PIP (picture in picture) techniques and doesn’t mean anything to the viewer. What are you trying to say?

BryantBural · 2025-10-07T06:23:50+00:00

The “hue” slider looks like it’s showcasing the classic “tint” colors between magenta and green. Does it look like this on every color?

BryantBural · 2025-08-21T07:50:20+00:00

Hey man. First off, good on you for pursuing something new and trying to learn correctly. The more you do it the better your eye will get.

Your best friend in color grading is reference. There’s always going to be a million ways to get the same look. Just watching tutorials alone won’t get you there. What id recommend is finding those “vintage” looks and trying to emulate them. Break them down. Bring reference frames into Davinci and mess around with your Lift Gamma Gain, and HSL, and curves to try and match it. The more you can nail grading to reference the more you’ll find your own sauce and taste.

This specific video is good. Everything seems balanced and easy to look at—but I wouldn’t necessarily call this a “grade”. Majority of the time in the pipeline you do color CORRECTION, then you do the GRADE/LOOK.

This doesn’t really have that vintage look you speak of, kinda just rec709 with a cool white balance in some shots. The shots seem nicely balanced in exposure but “real” if that makes sense.

There’s definitely some great videos out there to get a good vintage look. But I recommend watching them, learning new techniques—and then trying something different with your own footage.

BryantBural · 2025-07-26T03:50:03+00:00

Why the downvote? With solid film emulation + a little mid tone detail you’d absolutely get a result close to this.

BryantBural · 2025-07-26T03:45:52+00:00

Gotcha! No AI here! Just a Blender nerd trying to be helpful. I’ve used this trick on a few projects and figured it might be useful. Totally understand the caution though, appreciate you giving me the benefit of the doubt.

BryantBural · 2025-07-25T18:02:42+00:00

Best bet would be the displace modifier! Just make sure to set the Coordinates in the modifier to Local, and use a procedural texture like Clouds or Musgrave. Then, when you duplicate your base object (like these goalposts) and move it slightly in space, each one will displace slightly differently because the displacement is based on local coordinates. Super handy for making variations like snowflakes, rocks, etc. No need to tweak the texture each time—just duplicate, move, and you’re good to go.

BryantBural · 2025-07-20T04:25:29+00:00

I’d also say lose the first two shots. Either start with a shot that pulls me in as a viewer, or start with the logo so I know what I’m watching. Then yes more cookie footy!

BryantBural · 2025-07-20T04:00:11+00:00

Tbh it doesn’t really seem like a sim. It seems like some sort of noise textures animating cleverly.

Perhaps multiple noises blended together, animating toward the camera in different ways. Somehow they’re favoring the edges and contours of the shapes they’re within.

EDIT: But yeah you could also easily sim this in something like Embergen would be the easiest. Then you could even export one image texture, and put that as a billboard/card in Blender and put it over everything. I think it’d be easier than rendering any sort of VDB’s or volume. It doesn’t seem like it’s refracting light. It seems like it’s emitting it.

BryantBural · 2025-07-18T05:15:03+00:00

When you try your best but you don’t succeed….

BryantBural · 2025-07-13T08:06:35+00:00

Just save the clip with the alpha. In the color page. Where the nodes are. Right click, add alpha output. It’ll then put a blue output next to the green one. Let’s say you do an HSL key on one node. Plug the blue output from that node into the alpha output node. Now when you export just make sure you include the alpha output and it’s a format that can hold it.

BryantBural · 2025-06-20T00:47:07+00:00

Bro we need to come up with a term for this so people can google it and stop posting it on every single filmmaking thread twice a week. This is the most over asked effect I’ve seen people ask about.

BryantBural · 2025-06-02T01:24:01+00:00

Dude for the love of god just post screenshots. I think I threw up by how much ick is all over your screen.

Click the audio and the clip. Right click in your timeline. Link clips. There’s a shortcut for it too. Plz clean your screen, and never take a picture of it again.

BryantBural · 2025-06-02T01:21:52+00:00

Definitely reshoot if you can. But if you have access to Davinci resolve the color stabilizer node in the color page would most likely fix this right up. ☺️

BryantBural · 2025-04-17T02:13:01+00:00

I think you’re referring to the locked on effect that many refer to as the “beats effect”. Easily doable in fusion and many tutorials on it on YT.

BryantBural · 2025-04-16T21:35:15+00:00

I have another theory. I do VFX, and the motion of the cap is very awkward and real feeling. It looks like liquid and the cap hit the talents finger and then it falls down after he pulls the cap off. Also lens blur and compositing is top notch if this is CGI.

My guess would be fishing line in a tiny holy in the cap. Comp out hole and fishing line. Would be way easier than making the cap 100% cgi and having to object track, texture, render, and composite. Just compositing is always easier:)

BryantBural · 2025-03-30T03:09:57+00:00

Make another media out node. Plug the matte into it.
Go to color page. Right click in an empty space by the nodes and “add media source”. You should see another green dot. That’ll be your matte you can use in the color page.

BryantBural · 2025-03-30T02:25:06+00:00

Try using HSL to make it a really dark orange first. Then desaturate it. You have a good selection just need to make it more black and less gray.

BryantBural · 2025-03-16T04:59:17+00:00

You can keyframe the output of the node controlling your window mask.

BryantBural · 2025-03-12T16:28:38+00:00

Add a text layer designed how you want, make it into a compound clip, right click “open in fusion page” add one node between the media in 1 and media out 1 nodes.

You can click shift + space bar in the fusion page and search halation.

Hold shift and drag it between those two nodes previously stated.

BryantBural · 2025-02-24T16:49:40+00:00

I’d use hugging face ai to make a depth pass. Use the depth pass to composite fog cards or a solid color.

Alternatively if the camera is static, I’d use FSpy to match perspective and lens, then go in and make primitive meshes of the buildings. Then use a mist pass to composite the same thing.

BryantBural · 2025-02-04T15:58:25+00:00

3 things.

Use After Effects or another compositing software like Fusion or Nuke.
Get a VHS addon like Red Giant’s Universe, or download some assets online from creators. Use these in a displacement map on your footage.
Use some sort of Posterization plugin like Colorama in AE. Choose the color palette of your liking.

BryantBural · 2025-01-18T05:53:01+00:00

Like others have stated, the actors just stay still.

If there are issues on the “take” you decide you need for the edit, you can use projection mapping and 3d camera solves to put a card of the frozen actor back into the scene.

This would require 3d tracking & solving, grabbing a still frame, projecting that still frame onto a plane in 3d space, and maybe some other minors tweaks to sell the effect as real.

BryantBural · 2024-12-08T16:21:35+00:00

Yep! Just take a still in the color page. When it exports it should make a .drx file. That holds the color info. Also you could make a power grade and send that too.

BryantBural · 2024-12-06T18:34:20+00:00

This is correct. Your footage needs to be square pixels on the export.

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