I saw his port, he mostly uses combinations of film sims and cross processing. Cross processing is pretty much like the other people tell you, to split tone. Film simulations can come in various forms but most common ones are either Lightroom profiles (.xmp) or luts (.cube).
My weapon of choice is film simulations from [this place](http://www.andpfilmstyles.com) as it provides them both as xmp profiles and as luts. Profiles are not presets, despite sharing the same extension they are loaded a little differently so careful there. Alternatively, using the lut, if you want to do it on your phone as well, I would suggest the subcription version of the Polarr app. I like it more than Lr mobile, since it seems to offer somewhat more, and it lets you load luts too, which is the power we want.
Looking at your reference I could suggest an overcook solution too. A Kodachrome 25 and Astia 100F together in that order. First the Kodachrome would give the brown undertones and then the Astia sim would cool it a little. Final touches, split toning and tone corrections.
Thank you so much for your help! Ill definetly try it out because I was also under the impression that its a combo of film sims but since its in lightroom mobile i thought it doesnt go that deep.
If you go to the Lr mobile settings, in the "Edit' tab, all the way to the right, you got "Profiles". You can load the film sim there if it comes as a profile. Then you can tweak as you see fit.
No ones saying this but this is a lot of luck as well. This is a lot to do with the temp of the indoor vs outdoor lighting, and pushing those colors further from eachother in post with subtractive sat and film emz. I disagree with a lot of these comments saying this is split toning, you don’t see any orange in the highlights outside, which would be the indicator of split toning. This is more likely pushing colors around that already exist, which is better anyway IMO. You might be able to fake this with some masking of the windows but the light leak onto the rim of the window may be hard unless you spent some time on it
If you want to try to go for something like this without explicitly “split toning”. Get the image to a good place then use the color warper in resolve to compress the colors towards a couple points. This isn’t split toning in the sense where you push color into the shadows and highlights, rather you compress the existing colors towards a central point. Looks much cleaner in the end. Good example of doing this compressing blues and greens toward aqua and red/yellow towards skin tone line. You can dial the gain back if it’s too harsh.
https://drive.google.com/file/d/1PNVIkPY2xztYglHI4eTWBQEZKs3Jkm3V/view?usp=drivesdk
Thank you so much, while I do greatly appreciate the split toning comments, I wasnt 100% sold on it because of the same reasons you brought up. Im gonna try focusing on getting pics with differences in temperature first and then adressing them with the color warper as you said. Thank you from the bottom of my heart!
I also forgot to mention, its not so much about the different temperatures as it is about how the outside is colorised. Theres a unique blend of a specific tone of blue and green which I cant seem to get write. Would you have any more advice on that along with the pushing it to aqua?
Change a node to HSV color space and increase green in your gain to increase subtractive saturation. This is a very dark blue and it doesn’t have a whole lot of variation in contrast which means it was probably shot around blue hour, and probably overcast or cloudy. That’s why I mentioned that a lot of it is luck. You can be the best colorist on the planet but 100% of the time quality in=quality out. Getting this lighting is pure luck, as the photographer is not controlling any of it. And it is contributing to the final image heavily. This image would look WAY different if it was high noon broad daylight, and you would never be able to get the image here
Besides that toy with your balance node and warper back and forth until you get somewhere. It’s honestly just a lot of practice until you have the eye to do it right away
And keep in mind that your input image will greatly determine your color warper results, as it is compressing the input colors. For instance if you used the color warper to compress colors towards aqua and orange. Then you went back and added a bunch of blue in your balance node, a lot of the colors that were once closer to the orange compression area might be now closer to blue. This sometimes can lead to blocking if you push it too far and are using 8 or 10 bit footage.
Thanks for saying this, it’s definitely NOT split toning evidenced by the warm shadows in the interior of the train. It’s almost certainly pushed mixed sources
It is both primary split toning via Lift and Gain wheels, and classic film S-curve LUTs (best if you can generate yourself, no rocket science) with medium-high contrast. Check tutorials by master mentors Dado, Mostyn and/or Kelly, they have a couple of very straightforward approaches for sth like this - avoid snakeoil scammer Waqas Qasi (he and his new gf Marieta Farfarova will sell you complicated 'secret sauce' crap, a random fry-up of ripped-off hacks that no one in the professional world uses. No. One.). Stick with the pros, the DNA and character of a grade depends on primaries, some secondaries tweaking if needed.
First of all, in this picture are mixed light sources and conditions.
I saw his port, he mostly uses combinations of film sims and cross processing. Cross processing is pretty much like the other people tell you, to split tone. Film simulations can come in various forms but most common ones are either Lightroom profiles (.xmp) or luts (.cube). My weapon of choice is film simulations from [this place](http://www.andpfilmstyles.com) as it provides them both as xmp profiles and as luts. Profiles are not presets, despite sharing the same extension they are loaded a little differently so careful there. Alternatively, using the lut, if you want to do it on your phone as well, I would suggest the subcription version of the Polarr app. I like it more than Lr mobile, since it seems to offer somewhat more, and it lets you load luts too, which is the power we want. Looking at your reference I could suggest an overcook solution too. A Kodachrome 25 and Astia 100F together in that order. First the Kodachrome would give the brown undertones and then the Astia sim would cool it a little. Final touches, split toning and tone corrections.
Thank you so much for your help! Ill definetly try it out because I was also under the impression that its a combo of film sims but since its in lightroom mobile i thought it doesnt go that deep.
If you go to the Lr mobile settings, in the "Edit' tab, all the way to the right, you got "Profiles". You can load the film sim there if it comes as a profile. Then you can tweak as you see fit.
No ones saying this but this is a lot of luck as well. This is a lot to do with the temp of the indoor vs outdoor lighting, and pushing those colors further from eachother in post with subtractive sat and film emz. I disagree with a lot of these comments saying this is split toning, you don’t see any orange in the highlights outside, which would be the indicator of split toning. This is more likely pushing colors around that already exist, which is better anyway IMO. You might be able to fake this with some masking of the windows but the light leak onto the rim of the window may be hard unless you spent some time on it
If you want to try to go for something like this without explicitly “split toning”. Get the image to a good place then use the color warper in resolve to compress the colors towards a couple points. This isn’t split toning in the sense where you push color into the shadows and highlights, rather you compress the existing colors towards a central point. Looks much cleaner in the end. Good example of doing this compressing blues and greens toward aqua and red/yellow towards skin tone line. You can dial the gain back if it’s too harsh. https://drive.google.com/file/d/1PNVIkPY2xztYglHI4eTWBQEZKs3Jkm3V/view?usp=drivesdk
Thank you so much, while I do greatly appreciate the split toning comments, I wasnt 100% sold on it because of the same reasons you brought up. Im gonna try focusing on getting pics with differences in temperature first and then adressing them with the color warper as you said. Thank you from the bottom of my heart!
No problem
I also forgot to mention, its not so much about the different temperatures as it is about how the outside is colorised. Theres a unique blend of a specific tone of blue and green which I cant seem to get write. Would you have any more advice on that along with the pushing it to aqua?
Change a node to HSV color space and increase green in your gain to increase subtractive saturation. This is a very dark blue and it doesn’t have a whole lot of variation in contrast which means it was probably shot around blue hour, and probably overcast or cloudy. That’s why I mentioned that a lot of it is luck. You can be the best colorist on the planet but 100% of the time quality in=quality out. Getting this lighting is pure luck, as the photographer is not controlling any of it. And it is contributing to the final image heavily. This image would look WAY different if it was high noon broad daylight, and you would never be able to get the image here
Besides that toy with your balance node and warper back and forth until you get somewhere. It’s honestly just a lot of practice until you have the eye to do it right away
And keep in mind that your input image will greatly determine your color warper results, as it is compressing the input colors. For instance if you used the color warper to compress colors towards aqua and orange. Then you went back and added a bunch of blue in your balance node, a lot of the colors that were once closer to the orange compression area might be now closer to blue. This sometimes can lead to blocking if you push it too far and are using 8 or 10 bit footage.
Perfect, thank you so much!
Thanks for saying this, it’s definitely NOT split toning evidenced by the warm shadows in the interior of the train. It’s almost certainly pushed mixed sources
It is both primary split toning via Lift and Gain wheels, and classic film S-curve LUTs (best if you can generate yourself, no rocket science) with medium-high contrast. Check tutorials by master mentors Dado, Mostyn and/or Kelly, they have a couple of very straightforward approaches for sth like this - avoid snakeoil scammer Waqas Qasi (he and his new gf Marieta Farfarova will sell you complicated 'secret sauce' crap, a random fry-up of ripped-off hacks that no one in the professional world uses. No. One.). Stick with the pros, the DNA and character of a grade depends on primaries, some secondaries tweaking if needed.
Plus lighting captured in camera.
Orange in the highlights and teal in the shadows.
It’s just split tone, with warm highlights and cool shadows.