actually, $2999 is their most expensive version, that's what people David Fincher use. Their cheapest version is $299 and comes on 50GB harddrive because it's too big to digitally download so it's at least 10 times more content than any digital download option.
Though I admire all the Kickstarter Entrepreneurs, I have never found laying over a layer of Grain no matter where it is from anywhere adequate for grain matching.. If you just want an effect, BLAM, grain, then this would work, but it will never help with the intricate grain matching techniques you need to employ for DI, and TV and Film Compositing.
I'll never understand why people go through so much trouble to try to make their stuff look like film. If you want your footage to look like film, why not shoot it on film?
All very nice and righteous, but I bet you won't say that to a client in his/her face if they shot digitaly and ask you to add some film grain, at that point you have take it to AE to add some simulated grain or pay cinegrain to add some.
I thought this was a good deal and many people on this forum can benefit from this, since it's 4K, and even though Cinespace is $299, they restrict that to project with a budget no more of 10K and it's only 1080.
This one is restriction-free and 4K, they also seem to do some interesting FCP plugins. http://www.crumplepop.com/
I have no financial interest on this people, thought a lot of indie folks may benefit from this, as it seems is the majority of Davinci user base. I myself being asked several times to add grain, and if you have a problem with that, maybe you should try posting a Pablo, Lustre or Baselight forum, although I was working on a Pablo when recently I was asked to add film grain on a RED project.
Personay, I love film better than any other format, but I'm glad it's dead because I'm tired of losing deals since I don't have a scanner and all those projects at the end gets hijacked by the ones that do since they offer free scanning if they do their color correction with them.
Anyway, it sounds like I may have made you angry, and I apologize if I did. That was not at all my intention. I understand clients like this stuff, and my earlier post was more of an eyeroll at the "we'll fix it in post" mentality of many clients and film students than anything else.
Absolutely in agreement with Gustavo on this one. It's pretty easy to say "just shoot with film," but when you've got a client (or better yet, yourself) caught in a situation where they WANT a filmic, analogue texture, but can only afford to shoot in HD...well, you do what you can do.
From that stand point, this seems like a really killer solution, and I certainly plan on getting my hands on that 4K scan. The singular issue that I have with every film grain simulation is that, from my perspective at least, there's a very tactile difference between anything we can conjure up and the real-deal.
There's a very subtle...fluidity to the grain in chemically processed celluloid that seems to flow naturally with the motions on screen. Most of the time, an overlay will give the illusion of this effect - but I've never seen a digital grain simulation that's able to 100% accurately match it.
Carl Ryan Stemple
Color | Edit | VFX
[Carl Ryan Stemple]"There's a very subtle...fluidity to the grain in chemically processed celluloid that seems to flow naturally with the motions on screen"
its a result of crystal clouding, which makes it difficult to exactly simulate in electronic plugins. Each emulsion has its own signature, which is further modified by where it lies on the sensinometric curve and whether the processing lab was on the numbers... temperature, fps, turbulation, chemical solutions mixed properly... only a couple of hundred variables. Plus the enhanced temporal resolution of a slightly jittering image formation target.
You don't know what you've got til its gone. Thanks Joni.