Amada Daro

Roto the reflections and composite them on top of everything. If not possible, it's a paint job.

All the looks are included in the plugin, but a couple of them are not available in the RCM/ACES versions mentioned by @Merlin Jahn. I read online that some looks have print data based on real film colorimetry and complex cross-colour contamination that it impossible to transfer over to a color managed workflow. Probably because a color managed workflow relies on an external transform and not a "recorded one".

DNxHR 444 delivers inconsistent levels because different platforms interpret it differently. Go down to HQX or switch to prores for a consistent result.

No drop here.

This is extremely basic, just watch the Introduction to Fusion training on this site and you will quickly understand how to layer, mask and track for shots like that.

Color accuracy.

In short... freeze the frame, mask her out and track her back into the original clip.

I'm totally aware of that After Effects is better suited for motion graphics work than Nuke, and that Nuke is the industry standard for high-end compositing. But, is Nuke really so much better for complex compositing tasks? The only thing I've been missing in After Effects is smart motion vectors for comp work on uneven surfaces such as clothes, but with the mocha pros new power mesh tool those things can be solved with an After Effects workflow too. What is your opinion on this?

Have you tried to freeze the single frames, stretch them out and/or create a compound clip?

Hi! How do I link audio and video on the timeline in DaVinci Resolve? I'm not talking about syncing clips, but I want the audio to be marked when I mark the video vice versa.

Thanks for your input! When smart cache is enabled, it turns the red lines into blue but some parts of the timeline doesn't have a line at all an doesn't playback in realtime. What is the reason for this?

I have improved SRT subtitles to the timeline but the client wants me to highlight some of the words words. Both scale them bigger and change color. Is that possible to do?

Considering to buy a new Macbook Pro to do some on the go grading. Would 16GB memory be enough?

I need to get access to the 5220-2 LUT from the ARRI look library. Does anyone of you have a version that is readable in DaVinci Resolve?

Thanks @Christian Berg-Nielsen, I will try "render cache color ouput". That's new to me. Guess, with an NLE background, I thought a render in-to-out option was available.

Hi! Is or possible to render the timeline in DaVinci Resolve without rendering to file? Would be useful for client sessions to avoid hickups after doing changes.

The old music videos are shot on film, meaning it's a pure signal run through a film stock with defined qualities. Today we mimic the way things were done earlier by running the digital signal through a curve at the end (or a LUT). That way the corrections done prior to it will fall into the ranges defined by the curve and at the same time keeping the blacks and whites more or less untouched. By using this method you can push greens quite hard and it will fall nicely into those areas you see is affected on your references without getting the washed out look. I suggest you have a look at the professional color grading course here on Lowepost to learn the basics of how you can work the image to look the way you want.

Have you watched the conform course? One of the lessons is about sending an FCP timeline over to Resolve.

It's well explained in lesson 6 & 8 in the Beauty Retouching course.

It's a bit confusing that all the sequences in the project is accessible through the drop down menu above the player window. Sometimes I just want to see those who are in a specific bin. Is that possible?

That made it, thank you! Another thing, but any effect that can be added to blur the edges of a matte only?

Thanks for getting back to me Lee, I'm a big fan of your work. Do you mean I should add a translate node and down scale to 1920x1080? Didn't know I could input the exact values.

I'm wrapping my head around the corner positioned in Resolve Fusion, but it seems like my issue with making it work is related to different resolutions. My footage is 2K, 4K and the inserts are HD 1920x1080. Do I need to down scale the footage to make the corner positions match?

Thank you for this great course Lee. The Fusion chroma keyers looks super solid, I will definitely give it a go on my next green screen job!

Do you know if I can copy/paste the subtitle track style in DaVinci Resolve? Like copying the attributes and paste it onto subtitles on another sequence.