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  1. Yesterday
  2. Tobia Montanari Lughi

    SUITS

    I would really love to know that, too!
  3. Aside from ACES and RCM, I didn't cover wide gamut workflows in this course. If we update the course, it might be a good topic to add.
  4. Last week
  5. I realize I'm a bit late but I want to throw in my 2 Cents. I have been purchasing from B&H since they first started selling online and have purchased thousands of dollars worth of equipment from them. I have never had an issues with them. In fact I will purchase from them before I purchase from amazon and highly recommend them to anyone. Jim
  6. Can Someone elaborate how Dereks approach under 'deep saturation' applies in Davinci Resolve? Is this a luma vs saturation curve, brought down as a whole? And does this come after the (luma) curve? I don't understand the theory behind this, what is the difference of bringing down 2 stops with the luma vs sat, in stead of a general exposure / offset adjustment?
  7. HI. Would like to know if you didi the pull off to the VFX (exported the shots to VFX work) from DaVinci. If so, did you exported already in Proress? And also if you're using some form of color management (RCM or ACES). TO explain.: I didi a job shot on ARRI (proress 4444XQ) where we had to do a collect converting the "raw" midia to also proress 4444, but already trimmed down to the cut for me to work on the color. The VFX, in paralallel, worked on the proress from camera exported while I worked on the "converted" midia. The converted midia was exported to me without any color management, using only the " tag" from the timeiline colorspace while vfx exported to me DPX files (wich dont carry this metadata tag). What we've learned is that (when working with RCM) davici does interpret this tag on the proress files. So, the converted midia was expoted to me with a tag as rec709, and the DPX had no such thing. And problems like you mention arose. My color did not match the VFX files because of this; Davinci was " interpreting": the footage based on the metadata tag on the proress, and we had to come with a workaround applying a LUT file to covert the DPX from VFX from rec709 to P3 (my main mastering colorspace). I know this workflow is the opposite of what you have, but to pay attention that when Resolve exports proress files, it "really" interprets the tag on the proress . So there is kind of " colorspace conversion" when you do this, (exporting proress from DaVinci) when, i my opinion, there should be none. If the tag is difernt from the colorspace of the file you're working,, you will have mismatch problems. Maybe the VFX file is tagged in this manner. But this only applies when you use some sort of Color Management. If you only use de " DaVinci YRGB colorspace, you should not have this problem. Hope i was clear enough....
  8. Prices vary enormously between versions. For an OFX version of Continuum, an annual licence is only $146 (in the Black Friday sale), whereas for Avid it's $371. Seems like good value to get the plugins for Resolve and probably more useful in a finishing system. A new permanent licence seems to be about four times an annual. Even then, I think you have to pay an upgrade cost once your first year of free upgrades is up. With an annual licence, you can always get the latest version. Whatever you decide, their Black Friday sale (up to 50% off) is ending very soon!
  9. I'm considering buying or renting one of the Boris FX products, but not sure if it will be good value for money to pay more for a new license than going for an annual subscription. On a general basis, would you own a software today when computer tech are going forward in this pace. Will it be outdated in a year or two anyways? Thoughts?
  10. Thanks Luca, I was tempted by that extra inches too, I appreciate your help!
  11. Good evening to all and patience with lock 2.Here is a video in autumn colors atLefki village of Kavala city at Greece with the Tenere xt660z.Bridges, ravines, plane trees, alleys and deserted housesat the end of the walk ..Here is the video with a few photos at the end:
  12. Hi Chris, I enjoyed your class, but I also was perplexed as to how you went about compressing the highlights in lesson 4. Could you elaborate on that? Thanks!
  13. Chris Jacobson, I really enjoyed watching this masterclass. Thank you so much!
  14. I don't know if this helps in any way but I bought this BenQ several years ago as my second screen for GUI: https://www.amazon.com/BenQ-2560x1440-Widescreen-BL2420PT-DisplayPort/dp/B01LHYIATA
  15. Go with the BENQ PD3200P (but BenQ states on their website that it's end of life, to be replaced by this one: https://www.benq.com/en-us/monitor/photographer/sw321c.html
  16. In short... freeze the frame, mask her out and track her back into the original clip.
  17. Hi, As far as I knew, a good calibrated laser projector (like a NC1201L) was absolutely fine for colour grading a film with cinema distribution. Maybe some limitation about pure blacks (more of difference from what I got), but longer calibration consistency over time and frame so more reliable. Other than that I wasn't aware of major problem with those. But just today a person that installs and sets up grading rooms told me he never been able to find a suitable laser projector, good enough for the requirements of a grading room. Despite me pushing for further info he didn't provide details about what was wrong with them. so: 1) What am I missing? 2) If there are any actual major difference, does it really matter with the shift of more and more cinemas to laser projectors?
  18. Hi Does anyone know how can i freeze a part of image in the shot? Actually, my actress is breathing but she is died, Do you know how can i freeze her in davinci resolve? also, I don't have any clean frame. Thank you.
  19. group all the clips you want to be effected and leave that single clip out it it. Then paste your timline grade to the post group level
  20. Thanks very much Bruno. I understand now, but Still, I will have to go on any of the ones I mentioned above. The budget does indeed exceed mine. If you mind, can you tell me which compromises I'll live with choosing any of the ones I listed? I am still curious is someone can tell me a comparison between them two as those are the items in question. Thanks again!
  21. The LG OLEDS are going to be more expensive than the 700 Euros you'd budgeted for. OLEDs do give deep blacks that the other monitors can't really match. The size of these monitors is something else to contend with. LG now do a 48 inch version (LG48CX) which is presently more expensive than the 55 inch, and will mean you really need to double your budget. Current wisdom around the forums is that they can be reasonably well calibrated for SDR work, but not for HDR. They also only really have HDMI inputs, unlike computer monitors which often have Display port. Being OLED, you'll also have to contend with auto dimming and the possibility of screen burn-in if static images are left on the screen for too long. Search the forums for more info on this. Whichever monitor you go for, there are going to be compromises in the budget range you're talking about. It just depend which of these compromises you can live with.
  22. I've heard comments about hhow good those monitors, why would that upgrade be massive? Thanks!
  23. If you'd been willing to spend a bit more, go for an LG OLED, which imo is massive upgrade to the monitors mentioned.
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