Remco Hekker

Who is your reseller in Belgium, the Netherlands and Luxemburg or in Germany?

Hi Kye, I guess we'll have to wait a couple more weeks to be sure. offcourse it could be supply chain issues combined with increased demand because of the pricedrops. But then again, NAB is end of this month 😁

Thanks Khoren, I almost forgot the problem with resolve not supporting the mapper. And with blackmagic doubeling down on the panels market, I doubt the will improve the tangents mapping. With the recent price drop of the mini-panel and them being sold out everywhere with a scheduled delivery of 4 - 7 weeks (roughly the time until NAB22) I wonder if we are going to see something new from them. However, the friendly facility I wrote about really wanted to sell me one, so I'm now the proud owner of a Tangent Elements Bundle. This will Atleast get me through some jobs the next couple of months and the price was good enough that I won't be burned should a new shiny panel arrive. Thanks for your input. Remco

Hi Guy's, After a 4 year break I'm getting back into the business. I have a couple of nice jobs coming up. I really wanted to get the Resolve mini panels since I work exclusively in Resolve. But since the price drop they are sold out pretty much everywhere in the Netherlands, Belgium and Germany. It' estimated that they will be back in stock in 4 - 8 weeks. But with global supply chains under pressure, I'm sceptical. I do have the opportunity to purchase a used Tangent Elements bundle from a friendly facility. I know the panel since I 'm still the person who has used it most in that facility 😄. I was really looking forward to some of the features of the Resolve panel like the ability to use custom curves etc. But I have no first hand experience using the panel. Anybody here that has used both? Maybe even switched? Interested to hear your thoughts on the matter. Thanks, Remco

I've recently found out how amazingly effective the temp/tint controls are during a resolve course I taught. Before, I would always use LGG and sometimes offset. But when I saw how quickly my students got great results using temp/tint, I decided to start using it myself. I've never looked back. Now, the temp/tint controls do change the relationship between LGG and I do still use the other tools to add a color bias for ambiance. But in all, I found the temp/tint controls (especially on my tangent elements) to be very effective very fast.

I moved to DNxHR for anything over 5 minutes in length. Except for when the original is R3d. Then I'll keep the camera originals. Anything under 5 minutes, I still use dpx. My workstation just eats through those sequences even faster than DNx. Verstuurd vanaf mijn SM-T805 met Tapatalk

Hi Tom, I've been using post haste for about 5 years now. It really is set and forget. I love the consistency and the simplicity. I've created one folder structure. Every project I start, starts by entering 3 fields in post haste. I have an autonumbering field create a project number.I use this number when creating my Resolve project and basically any other asset I create. Also, because all the folders are created immediately, I never have to think about where to put anything. It's just routine. Verstuurd vanaf mijn SM-T805 met Tapatalk

Hi Gabriel, Don't worry about the Bitdepth within Resolve you will always be working in 32bit (the dropdown menu allowing you to choose affects the signal send to your external monitor) You will run into the 8bit problem, especially when the footage is shot in s-log. It just gets very flat and lacks realism after you've done any kind of normalization. But hey, that decision has been made and you'll have to deal with it. The broadcaster may turn it down if their specifications dictates that the source footage is at least 10bit for x% of the show. But again, there's nothing you can do about that. Of course you can export your work in a 10bit codec (and you should), but if the editor is doing the final master, you don't have to worry about the rest of the specs from the broadcaster, you'll just hand over the 10bit exports to the editor. I personally don't have a real preference regarding the colorscience when working with a7s footage. Usually I select a couple of hero shots and try 3 or 4 different normalizations. LGG, offset contrast pivot, and some powergrades I have saved based on some luts that my clients have told me they like. After that, I'll put the project in Resolve Colormanaged and ACES to see if I like any of them better. Until now, I didn't decide on RCM that much. Because it would sometimes over expose (especially s-log) and I'd need to take care of that manually. There is a new function in R14 that should take care of this, but I haven't tested it jet. Then, how to setup the project. There's a couple options there. I would refrain from doing all episodes in 1 project. Every time I have done something of the like in Resolve, I have come to regret it. (Haven't tried it in R14 ) So depending on your level of OCD you can choose to: A. Setup a new database specifically for this project. And make a new project for each episode. (turn on dynamic project switching and it will feel as of every episode is I 1 project.) B. Just create a new folder in your current database project manager, and add new projects for each episode. This may suffice since there are only 10 episodes. You'll be able to exchange powergrades and reference stills between the projects in the expanded gallery. I hope this is of any help to you. Obviously, the things I wrote here are based on my personal opinion. Other people may think differently. Good luck,

Hi. I've used Edius for years untill I starter cutting in Resolve a couple of years ago. Last I tried to round-trip.(Edius v7 - Resolve 12, I think) I had a lot of issues with the AAF and needed a small application called "xml resolver" to change the Edius XML and make it Resolve compatible. Or was it the other way around. I'm sorry, I forgot. Anyway, just make sure you have a little extra time to make sure everything works. If you run into any problems, be sure to post back. I know I used to have loads of little work-arounds. Good luck! Verstuurd vanaf mijn SM-T805 met Tapatalk

Hi Everyone, I'm pretty new to this forum and I love how much everybody here is focused on making the best possible images, rather than the technical matter of " what buttons to push". Therefore I'm really interested to learn: What, to you, makes a good colorgrade? When are you really happy with the work you've done? What gets you excited when you see other colorists work? I look forward to your insights!

I think you are talking about Davinci Revival. interestingly there is little to no reference to it anywhere. To the best of my knowledge, Revival has been replaced/incorporated into the "hidden" dust-busting function of Resolve. This feature is only available when using DPX sequences and is explained on page 1074 of the R14beta manual. (it looks like it doesn't even support BMD'a own Cintel files. Altough I can be wrong since I have no experience with grading celluloid)

Recently, I spoke to a fellow colorist from the Netherlands. We discussed colorists moving to other platforms (than Resolve) such as Nucoda and Baselight. It felt for a minute as if I was lagging behind in some way. He himself had invested quite some time in learning Nucoda and told me he needed to make some more hours to reach the same speed as he did with Resolve. When he asked me why I was still working solely with Resolve, I had to think a little bit before I realized I don't have a reason to leave Resolve or to learn a different platform. I Used to think I'm a Blackmagic fanboy. Thankful for the amazing tools they allow me to use for such a low price. I am sure I wouldn't be where I am now if they wouldn't have offered a free version back when nobody else did. However, I am not. I would jump to a different platform the minute I wouldn't be able to achieve something important to me. That just hasn't happened to me, jet. In a recent episode of the colorist podcast, Adam Inglis compared the first platform you learn as your first language. I feel I still need to learn how to be eloquent in my first language before I 'll be successful picking up a second.

I agree, it's a great show and I've always been excited about the look. Lots of students have come in to one of my Resolve classes with the goal of learning the Suits-look. I always joke that, if they can find it, they'll make a fortune grading corporate videos. i've just watched a bunch of season 5 episodes and have to say: Once again, great job! Thanks for the article, it's a great insight in the look of a modern classic. i do have a question about your "no noise-reduction" comment. Is the camera deliberately pushed a stop to avoid additional noise? Even the Alexa footage I encounter is rarely this noise-free without me helping it.

I agree, it's a great show and I've always been excited about the look. Lots of students have come in to one of my Resolve classes with the goal of learning the Suits-look. I always joke that, if they can find it, they'll make a fortune grading corporate videos. i've just watched a bunch of season 5 episodes and have to say: Once again, great job! Thanks for the article, it's a great insight in the look of a modern classic. i do have a question about your "no noise-reduction" comment. Is the camera deliberately pushed a stop to avoid additional noise? Even the Alexa footage I encounter is rarely this noise-free without me helping it.