Based on the title provided, the post refers to a production from the Color Climax Corporation
“Dual‑Tone Split” – Split the frame diagonally; the top‑left half leans warm (gold‑orange), the bottom‑right leans cool (teal). Achieve with a Linear Gradient Power Window set to Overlay blend mode (Opacity ≈ 30 %). color climax film nr 1391 44 exclusive
| Destination | Codec | Colour Space | Bit Depth | |-------------|-------|--------------|-----------| | Web (YouTube/Vimeo) | H.264 (High Profile) | Rec.709 | 8‑bit | | Broadcast / Film festivals | ProRes 422 HQ or DNxHR HQX | Rec.2020 (if HDR) | 10‑bit | | Archive | CinemaDNG or ProRes RAW | Rec.709 | 12‑bit | Based on the title provided, the post refers
| Step | Action | Tips |
|------|--------|------|
| Primary Balance | Match exposure & white‑balance across all shots. | Use the Scopes (Waveform, Vectorscope) to lock the 75 % IRE for key highlights. |
| Mood Layer | Apply the custom “1391‑44” LUT as a node 2. | Keep the LUT in a Serial node to preserve the primary balance node. |
| Selective Power‑Grading | Isolate key elements (hero, antagonist, environment) with Power Windows. | - Hero: Slight warm lift (R+G).
- Antagonist: Cool desaturate (B‑G). |
| Glow & Highlights | Add a HDR‑10 “Glow” node (or Resolve’s Glow effect) to the brightest 5 % of pixels. | Keep the radius tight; you want a “halo” on swords or fire, not a wash. |
| Grain & Texture | Insert a Film Grain node set to Medium‑Heavy (70–80%) with Add blend mode. | Grain should be visible on shadows but not dominate skin texture. |
| Final Trim | Use Luma vs Saturation to pull back oversaturated areas. | Keep skin tones in the 90‑110 range on the Vectorscope. | | Use the Scopes (Waveform, Vectorscope) to lock