Emily Haine

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:

1. Copy grade to a still
2. Right click in the gallery are, and choose apply grade using / keyframe aligning source startcode or keyframe aligning start frame. 
3. 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?

1 hour ago, Aaron Rosapepe said:

That said, I am finding the Case Studies on this forum to be very enlightening so far.

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? 

Any updates on if BaseGrade will be implementet in future versions of DaVinci Resolve or if this is a patented feature that we can assume will stay a Filmlight tool only?

On 1/26/2017 at 4:12 PM, Stepan Kozlov said:

Pretty late answer i'm guessing but you can do this with the colourspace ofx plugin. The problem with that one though is that it is built to convert from one colourspace to another in a mathematically precise way which is not always as aesthetically pleasing like it would be if with a DRT. For example you might convert from logc to rec709 and find that the highlights are clilpped and look awful. The data is still there and you can recover them but it's not as pleasing of a conversion as the arri lut that resolve is supplied with. 

Very useful information. Does any of you have any experience with the colourspace OFX plugin for this kind of use?

Merry christmas everyone!

A creative look-up-table comes with modified properties like a certain degree of saturation, print tone scale etc, which mean that it will set the balance off from the first time it's applied. You could balance the image, use a inverse LUT to set it back to Log again and then apply your creative LUT at the end of the chain. That said, t's more common workflow to use a normalization LUT and dial in the preferred look manually.

Is it correct that applying a custom curve on log material 'transform' it to Video Gamma and not Linear?  I understand that Linear is of the form y=Ax+C while Video gamma is of the form y=Ax^C, but what is the practical difference?