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  2. Photoshop high-pass filter in Davinci Resolve

  3. Today
  4. HSL/Greyscale/Saturation

    Thank you, I think that the calculations are more accurate in photoshop, or at least it targets a specific rangea that is not easy to recreate with curves. Moving the orange slider is not exactly the same as raising it in the lum vs. sat curve tool when it comes to accuracy.
  5. Can anyone explain to me how to recreate the Photoshop high-pass filter in Davinci Resolve? I'm trying to create step two in this tutorial https://www.digitalartsonline.co.uk/tutorials/photoshop/add-authentic-looking-vintage-look-photo/#3
  6. Hi all, we're doing a pre-NAB event on the new SCRATCH on April 4th, that is all about dailies. This is actually more a basic training on SCRATCH for dailies, than it is a presentation. Aim is, that anybody attending is able to process dailies in SCRATCH after the event is over. We have put some focus on the dailies-tools inside SCRATCH for v9.0. Think it's going to be pretty interesting for some of you. I'll make it over as well and if you happen to be in the LA area around that time, I would be happy to put some faces to the names :-) ! Greetz, Mazze
  7. Copying HSL Qualifier settings only from one node to another.

    Hey Willian and thanks for taking your time. What I meant was I want to preserve the power window and tracking data of the destination node, while adding the qualifier from the first node to it Works fine with the power window preserved but the tracking data is lost for some reason. Maybe this is something that will be fixed in the future.
  8. VSCO Film Presets for Resolve

    Never heard of that plug-in, thanks!
  9. White Balancing in Resolve with Tint/Temp

    @Anton Meleshkevich Thanks for the explaination! It helped me understand alot better.
  10. White Balancing in Resolve with Tint/Temp

    The contrast control and the log controls are pretty recent addition, I think resolve 9 or 10. So before that you had only lift-gamma-gain and offset. I'm using the offset-contrast-pivot in a pretty methodological way when I'm grading on my own, but I end up resorting to lift-gain when I have a client watching and things need to move fast
  11. VSCO Film Presets for Resolve

    Thanks man! I need to update it with some new work some time. Haven't updated it in a couple years. With VSCO and filters I think toning them back and using them in conjunction with Photoshop isn't bad, especially if they look good and get the job done. The issue i have is when people just paste them on and it looks "filtered". A lot of people don't modify the preset and eventually they all look the same. Also you might dig this free opacity plugin for Lightroom https://www.capturemonkey.com/thefader/
  12. HSL/Greyscale/Saturation

    It has better, it has Hue/Sat/Luma curves. I wish Photoshop had what Resolve has in that regard. Also Resolve is floating point based whereas Photoshop is integer based with limited 32 bit functionality.
  13. White Balancing in Resolve with Tint/Temp

    @Emil Öberg Printer lights (offset) should be used only for log footage before a log-to-rec709(or something) LUT. Adjusting RBG simultaneously (Enter and Plus keys on numpad) is exposure. This is the closest way to adjust exposure like you change ISO on camera or add more light at shooting stage. However closest but not identical. As far as I remebmer it will be identical to adjusting ISO in URSA 4.6 RAW material. But RED's ISO works a little bit different. I can be wrong. But it is still the best way to get some kind of natural exposure adjustments. For contrast use contrast parameter. But uncheck S-curve for contrast in settings. So it will work like lift and gain wheels while adjusting black and white points. Like levels in photoshop. Also you can use shadow wheel to make blacks more black without increasing contrast in midtones. Talking about WB, you don't need to adjust black's WB (like lift color wheel) or white's WB (like gain color wheel), when you grade log material. Just use offset wheel (I prefer RGB addition and subtraction hotkeys). This is the closest way to adjust WB like you do it in Camera Raw. More precise way is adjusting temp and tint parameters in ACES. But ACES colorspace can increase noise on some footage. It is still a little bit buggy in Resolve. So the best way to adjust WB on non-RAW log footage is to use offset color wheel (printer lights). In addition to it sometimes you can find useful to get correct WB in shadows using shadow colorwheel. Lift, gamma and gain color wheels - are for the video level footage (rec709). But as far as I know, Stefan Sonnenfeld uses LGG (but without gamma) on Log footage. I hope @Tom Poole or someone else from CO3 can correct me, if i'm wrong.
  14. Yesterday
  15. HSL/Greyscale/Saturation

    In Photoshop you can go to HSL/GREYSCALE/SATURATION and decrease or increase the individual color channels such as red, orange, yellow, green, aquas etc. Does DaVinci Resolve have any tools that gives us this precise control over the individual colors?
  16. So that's how it works, thank you that explains everything. Any idea how I with blending modes can have the blacks be replaced with the yellow node?
  17. Copying HSL Qualifier settings only from one node to another.

    Hi Emil, it was my understanding that you wanted to preserve the Qualifier and the Power Window data. If this is still the case, please don't reset the PW. Reset just what will be an overlap in the destination node relative to the source node. In the worse case, your alternative method of copying and pasting the track data would be the right workaround.
  18. Lighten blending mode issue, DaVinci Resolve

    The yellow is replacing everything that is darker than it, in this case the whole image.
  19. White Balancing in Resolve with Tint/Temp

    @Anton Meleshkevich Thank you for the help! May I ask you how exactly do you about when you adjust WB using the printer lights? I’m playing around with it but I don’t understand how to adjust for example only the gain or only the lift to get a precise match? Also which scope is best used with this? I hope you don’t mind me asking I’m pretty new with color grading and with the software.
  20. Less saturated colors in Quicktime render

    Besides taking care of the external monitor calibration, the usual culprit of the contrast and saturation shift is a mismatch between full and video range in the Color Management preferences setting and the Delivery page. If in Preferences the range is set to video and the Delivery page it’s set to full range, it will cause the shift in contrast, and since contrast has an effect in saturation it will affect this too. Leaving the setting in the Delivery page to Auto will output the correct image too. Another point to take in consideration is that difference NLEs by default expect the file to be in full range while others expect to be in video range. All this applies when grading only in a computer display too. Patrick Inholfer at Mixinglight has an extensive insight on the subject.
  21. I have tried to swap the inputs around but unfortunately with no luck. In this setup the layer mixer is set to lighten and what I expect to see is that the blacks from the top node should be replaced with yellow.
  22. Copying HSL Qualifier settings only from one node to another.

    Now when I tried copying just the qualifier from a node in another project it worked without deleting the power window in the destination node, but it still deletes the tracking data. Works to copy the track data before pasting the qualifier and then paste the track data back in but it would be nice if it could be done in a simpler way.
  23. Copying HSL Qualifier settings only from one node to another.

    Thank you for the reply Willian. I tried what you said, I copied the node with the HSL qualifier onto my other node with a power window and then reset the power window tab, but this just resets the power window completely. Am I missing something?
  24. Cross processing looks

    Definitely, the Custom Curve is the right tool to achieve the cross processing look. Here is a starting point using Resolve Custom Curve: In the first node, as normal let’s balance the exposure and WB of the image In the next node, unengaged the RGB and Y curve Draw an invert S curve for each RGB channel depending on the range, (high, low and mid-tone) we want the specific colors to be. To accentuate or minimize the look, let's use the Y only to add contrast In addition, Unengaged the Low and high Soft can be used to fine-tune individual channels For the classic blue look, draw an S curve to the RG channels with a positive mid-tone, and an inverted curve to the blue channel, (negative mid-tone) To minimize and protect a specific color, we can use the eyes dropper to sample that element. This is especially useful to protect skin tone from an aggressive color effect of cross processing.
  25. Color boost vs. Sat?

    The practical difference between Color Boost and Saturation is that Color Boost is less intense than Saturation, especially in the mid-tone range than other parts of the spectrum. Try to confirm this by using a neutral gray or white patch, open the Scope, add some RGB color and use the Saturation and Color Boost one after another to visually see the difference not only with the eyes but in the Scope. Because color Color Boost is less aggressive than Saturation it’s an alternative tool to fine tune skin tone saturation.
  26. Copying HSL Qualifier settings only from one node to another.

    Here is another method to achieve this: a) Copy, paste the node into the destination node, b) In the destination node reset everything except the qualifier and the power window. This will maintain all the data from the original node.
  27. Last week
  28. Filmlight Blackboard 1

    Filmlight Blackboard 1 in very good working condition for sale -10,000$ Shipment costs from Israel on the buyer's expence. Michael@cinematyp.com WhatsUp +972544521163
  29. Minimum hardware requirement for a calibration laptop

    I use Lightspace XPT and Calman studio on MacbookPro 2017 with i7 with 16giga, I use Vmware Fusion with a windows 7 pro, USB C to USB port work perfectly with differents Spectro like Jeti 1211, I1 one Pro 2, Klein K80 or even C6 hdr colorimeter with simple USB-C to USB Adapter. On the same computer I use OSX Resolve or OSX CalibMate driven by Lightspace or Calman, it very great because I can use BM device like ultrastudio thunderbolt device. Most of time I avoid Wifi for controling external Resolve because sometime he can introduce unsync reading between Lightspace and resolve. On Vmware side I put 4 giga ram with 1 processor on windows 7 sp1 pro 64 bits. Becarefull avoid ATOM INTEL computer it's far far to slow to be able to use it, I think minimum i5 it's nice.
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