Emily Haine

Hi Willian. 

I do understand you are talking about a color managed workflow, that's why my example was in ACES. Your workflow still makes no sense, if you want to match cameras you should let ACES/RCM handle the transforms and if you want to override their judgement, that can be done on clip level and not node level.  When using ACES in Ravengrade you simply set working color space inside of Ravengrade to ACEScct and the rest will be handled by how you set up the color management inside of Resolve.
 

21 minutes ago, Willian Aleman said:

In other words,  is this only possible when using non-color managed workflow, YRGB?

Not sure if I understand, but if you have different formats in ACES you should set the ACES Input transform to "No Input Transform". Then, if you want to challenge how Resolve interprets the clips on your timeline, you could change input on clip level. Why would you want to change gamma on node level?

Not sure what you really want to do, but you can get a long way by working the contrast to get good separation followed by tweeking the different hues to add some more life.

You can experience some gamma issues on DNxHR 444 but if Adobe Media Encoder interpret it properly, why not go that route. If the final delivery is 1920x1080 you could go with DNxHD185x (10 bit) instead as that matches Prores 422 quite good and carries the gamma properly between the apps.

Hi Kristine,

I suggest you have a look at the professional color grading techniques here on Lowepost. It goes really deep into how to build contrast curves and manipulate colors. 

It seems to be a bug in Resolve 16.2 when choosing "book" font face in any font as it jumps to the the thinnest one. Any workaround that you are aware of?  

Thanks guys, haven't had the chance to test but will do next week.

Unfortunately I can't have him download Resolve but Livestream looks interesting. Have you tried it? 

Yeah Resolve and Mac. 

Hey all. Can you recommend a software only solution for a color grading session with the director? I know it's not how it should be done, but the director can't be at the session and asks to follow on his MacBook so I need to find a solution for that. 

I have a sharpen node in the timeline panel but want one of the clips not to be affected by this. Is it a way to tell a clip to not see the nodes in the timeline panel?

Do you know if it's possible to mark two points on the custom curve and move them simultaneously with the arrow keys on the keyboard? 

Em

If I understand you correctly, the footage is deleted both from your hard drive and the camera cards? Then recovery software is your solution. There are some risks involved with self-recovery so if the footage is important you should might consider contacting professionals.

Playing around with the different frequencies is very common, you can see Lee demonstrate it in the Beauty Retouching series. It's often a combination of tools that gives the best result and it's smart to learn a variety of beauty techniques. 

Uniformity issues means you see color splotches on the screen. Load a white solid to test the panel before you buy or mount it on the wall. 

No, but might be for clients if you can find one without too much uniformity issues. Look at Eizo or FSI for cheaper monitor alternatives.

If you want to make a trim pass for YouTube watched on a mobile device or whatever, simply turn on the lights and make a simple trim pass at the end. Some people tend to be completely obsessed with gamma, numbers and complicated things too much.

Licensing gets more and more intricate so I guess the software providers will do what they can to ensure you stay updated.

Need to check my glasses 😎

How is Autodesk doing with Flame these days? 

Depends on the context, but density is brightness and tone could relate to the tonal curve. Brightness and individual curve adjustments are a good combination to work a desirable contrast into the image.

One of the main differences was that you you couldn't load footage directly into the Resolve version, but now you can through the "Loader node" in V15.

Hi Jeremy. I simply mean that a film image often have deep blacks in the mids.

Watch your corrections through a curve and see how the image acts. For every little curve adjustment you make, the prior corrections will behave differently and you will get a different result. Good luck. 

Can't think of a better place than Lowepost for these things, it's really mentioned everywhere, you just have to know what to look for. 

From the Hobbit article:

"Luma curves are one of my favourite tools to use in achieving a richer, bolder look. By grabbing a still of how a shot sits with the desired exposure levels etc and playing with the curve in conjunction with Lift Gamma Gain, you are able to get some extra tone into areas of the picture that the standard tools can’t reach alone. Often you end up in the same place as your still with no perceivable difference, but sometimes, with enough experimenting, you can come up with some beautiful richness and depth and still keep the same exposure level to what you started with and desired in the first place, just a much richer frame in certain subtle areas. This doesn’t always work so you have to be judicious."