Amada Daro

  On 7/20/2022 at 7:42 PM, Mason Hunsicker said:

I just find it odd that the only way to access the Niran look is to use the powergrade, not the stand alone plugin.

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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. 

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 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?

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.

A log2rec709 is to transform your footage into the rec709 color space. You can do the "same thing" with curves or any of the other controls. You don't need a LUT.  What you see is what you get.

You don't need to change the timeline color space either, it just changes how the color controls feels.

Just grade on your P3 monitor and be happy, don't complicate things. 

The academy recommend  scene referred because their system is based on it. It's perfectly fine to work display referred, that's what most people do.

You don't need to work through a LUT either, even though I personally prefer to do so for creative reasons. With display referred, what you see is what you get as long as your monitoring is set up correctly.

I recommend watching the color workflow course on lowepost as it covers both methods and also the IPP2 workflow for RED.

Is it possible to have both the player windows and the inspector panel open at the same time? I'm working on a title in the main player window and want to compare it with the title on the offline version in the left player window. 

I'm on the newest Mac Pro and it's super fast, but the playback speed in the edit tab is very slow and laggy. Any reason for that?