Emily Haine

Now it's there for download! https://www.blackmagicdesign.com/products/davinciresolve/

Panavision explains that low luminance values in combination with high saturation is the key to pleasant colours. What are your comments to that?

I love your work Sam and thank you so much for sharing your strategies.

I'm very thankful for your answers Bruno, I will run a few proxy tests and think about if we will invest in a few iMacs for individual projects.

I'm pretty sure they bring a lot of gel on set. Strong primary colors in everything but the skin, and it looks like they reduce midtone details in the skin tones.

I have not tried that, but I will give it a go. Any ABC guide on how to set this up? How about working on the camera proxies that are generated in camera?Is that possible?

In production, it's always 4K+, Raw etc. We transcode to make Avid handle it, not disk space as we have Nexis.

Thank you for all the details, very useful information! We will not work with UHD+ in Avid, we usually transcode all media to DNx36 for offline. Do you have any experience with working directly on the camera proxy files from RED and Alexa within Avid? Would save a great load of transcoding time.

We are on HP z840 machines and that works well, but I wonder if any of you run Davinci Resolve and Avid on iMacs? Can it handle it?

Something strange just happened on one of the clips on my timeline. It sounds wierd, but when I try to apply a grade from a still it doesn't appy the correct colors, it's like some of my nodes are disabled. The still is from a grade on that exact image so I know how it should look like, and I get that confirmed when I wipe the still onto the clip. Nothing has changed on the original clip, and this is not happening on any of the other clips in the sequence. Any idea what is going on here?

First of all they want to see how it looks straight out of the cam, and it's always good to do some creative work just to have something to discuss from.

Whenever I can, I create some looks prior to the session as my experience is that most directors want to see alternatives, even if they have references and strong opinions about where they want.

Interesting interview with colorist Yvan Lucas.

...If you don't like the reflection of water hitting the ground at night, you probably don't like the look of digital... You need to evaluate the image and find ways to bring the different luminance levels closer. By decreasing the contrast so that your black and white levels are closer to each other definitely helps. A gentle roll-off woud also help a lot.

That is probably a timecode mismatch between your reference clip and your timeline. Your reference clips is probably starting from 0, so I would right click on your timeline in the editor tab, choose 'timeline', followed by 'starting timecode" and set it to 00:00:00:00.

Copying a grade from one clip with keyframes / dynamics to another clip is not possible with the default setup in Davinci Resolve today. You can try the following: Copy grade to a still Right click in the gallery are, and choose apply grade using / keyframe aligning source startcode or keyframe aligning start frame. Paste the grade from the still to your new clip Even with this method you will probably see that the keyframes are displaced or that dynamics turn into static keyframes. Black Magic Design know about this issue as it has been addressed several times the last years, but it seems like they can't fix it for some reason.

I have a question about the range of printer points. The traditional system had a total range of 50 (0-50) butdigital correctors can raise each channel to 225. Why is that?

I agree, extremely insightful resource. I'm also a huge fan of Trish Cahill, she's so talented and the techniques explained in her article alone improved the way I work more than any other master series I have seen online! High expections to the blog as well!

I don't think it is possible to access generators with nodes, but there are several ways to accomplish what you want to do. You can add a gradient from the windows menu and drag it into the frame horizontally. You can add a square mask, offset it and feather it. You can add a grey scale in the edit room, right clip and make it a compound clip so that you can access it in the color room. Add colors into the luma ranges you want, save a still and copy the grade into your image.

Basic painting and cloning tools. Would be a killer in combination with their tracker. They could also make the tracker more intuitive as I always forget and need to go back and read about how to do the track out of frame thing.

Unfortunately, the only way to vizualise the curve is to create it with the curve tools. You can do a log contrast adjustment and finesse the curve with other tools, for then to apply the corrections on a greyscale to see the changes. But that would be quite an excessive process.

Set the curve first as Jussi suggests, then isolate the different colors, gamma lift and hue-swing them towards the color palette of your choice with a combination of hue vs hue and saturation.

You can apply the Log to Rec709 3D LUT from Arri on a node to stretch the contrast instead of doing it manually. You can use that as a base before balancing and doing initial corrections. Using a LUT can clip both your blacks and whites, but you can create a node prior to the LUT correction to be able to control that.

Desaturate 100% and push two different colors based on lumimance.

Hi! Black Magic Design states on their site that Fusion is the most advanced compositing tool. What advantages has Fusion over Nuke?