Amada Daro

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?

Yeah that's really annoying, it forces me to apply grain on clip level or on an adjustment layer because I don't want it to affect the graphics.

Click on the disconnected database and it will display the original path.

I have an issue when setting in and out points on the timeline in the edit module in DaVinci Resolve. It looks like I'm not hitting the exact start and end of the clip. Is the frame divided into subframes? What's the point with this, and how can I change it?

I love you Abby, that was it!

Seems like the issue is because the graphic is scaled down and re positioned. I have changed scaling from sharper to smoother but it doesn't help much. It looks find when still but looks really bad when hitting play.

Thanks but it's already set to Premultiplied. A bit strange behaviour though, as switching between straight and premultiplied inverts some of the elements which is not what happens when doing the same thing in After Effects.

I have imported a PNG file in DaVinci Resolve and the edges are jagged. The original file is fine and it looks perfect in After Effects. Is there a setting I have missed?

How does this tool compare to Livegrade and the other established color on set tools?

In the Edit Module, mark the original clip in the media pool and the clip on the timeline, then right click the thumb and choose "force conform".

Scopes can help you analyze the shots and you can extract some information about them that could be useful. It could be difficult for an un-trained eye to see the luminance levels, it the shots are desaturated, if the colors are scewed in towards cold or warm etc. That said, Individual hues, contrast, shape and colour harmony is not the easiest thing to read from a scope and required experience and taste to replicate.

And the question?

I think @Kevin P McAuliffe might have some experience with this particular issue?

Only EDL. For your other question, the idea with the pre-conformed workflow is to split a single clip into pieces, just as Kevin demonstrates in the video.

16 bit is better than 12 bit, which is better than 10 bit. Technically. Colorists are more familiar with RAW, 3rd, ProRes than XAVC. I have worked with XAVC and I hate it. But I know a guy that like it. Do you want an objective answer, go read a pixel tech review. This is personal because today all modern formats are technically good enough for everything, but some feels better and is a better starting point for whatever you want to achieve. Sit down with the director and post and make your camera choice based on everything else than the format.

I said I don't like the look of Sony and that I would go for Alexa. You can shoot 16bit RAW with Sony Venice, and you can shoot with ProRes compression. No idea why you would go for XAVC. You should consult the post house prior to shoot a full feature. It's much more to consider than compression when you are into the choice of going for one camera or another.

This is more a question of what look you are going for. Personally, I prefer Alexa because it renders skin tones better than Red. It's also better in low light. If I had to choose between Red and Venice I would go for Red because the Sony sensors are too clean for my taste and the images looks too "digital". Any experienced colorist knows how to get the most out of the 3rd log file.

A matte paint or clean plate with random distributed verticies? I also often comp back in some smoke on top to get a nicer fall of where the smoke ends.

The tools are not only for grain, but also for emulations. Secret sauce

What an amazing collection of useful editing lessons, I loved every one of them.

That's a broad question, can you be more specific?

I would be very interested in seeing an introduction series made by @Kevin P McAuliffe on Mistika Boutique. Any chance that could happen? I really enjoyed the Scratch series he created which was a totally new grading and finshing package for me.