THE CINESCOPE POWERGRADE
SLICK AND SIMPLE
Import the powergrade, apply to your shot, enter your camera information. It’s as easy as that.
Fill in your CST (Colour Space Transform) information and let the node pipeline do everything for you, or make your own grades with parallel secondaries and toggleable nodes.
Cinescope is thoroughly labelled and organised with customisation in mind, so that making your own look has never been easier.
DESIGNED FOR AN EASY WORKFLOW (including DaVinci Resolve FREE).
AI powered noise reduction.
CST’s with pre-set tone-mapping and saturation compression for easy colour management.
A 1D Tone Curve with DaVinci Intermediate mid-grey marked.
HSV subtractive saturation.
HSL with a Rec.709 orphan node, for easier isolation viewing.
Custom built filmic halation.
Pre-set vignette and empty parallel nodes for your own secondary operations.
Filmic nodes such as glow, grain, softness, dirt, flicker and gate weave.
FujiFilm and Kodak film looks.
BLOG
CONTACT
Looking to get in touch? Fill out the form below!
Today, I want to share a method I use for working with the HSL (Hue, Saturation, Luminance) qualifier in DaVinci Resolve.
This approach is part of my Cinescope Powergrade and general workflow, even if I’m grading from scratch. It allows you to access a broader range of colors when using the HSL qualifier without placing it too late in the workflow, which can cause issues if adjustments need to be made.