Josh Petok

High praise coming from you, Andy! Thanks for the feedback

It’s set to rec709. However, this is bypassed when we remove the color adapters from the sequence. We’re relying on the Baselight plugin to apply any color management.

This course is amazing. Thanks so much for putting it out! In lesson 7 at about 4:04, Kevin is grading before the Arri LUT. I noticed as he moves the blue offset back and forth, the red and green channels are effected as well. Is this an exposure compensation? In Baselight, FilmGrade has the ability to turn off "maintain density" to avoid this. Is there something similar in Resolve? Thanks again!

I created a tutorial for working between Daylight and Avid. There's also a ton of great tutorials from FilmLight on their Vimeo page: https://vimeo.com/filmlight

Here's a tutorial I posted a while back, but it's still very useful today: Creating areas of light and shadow are no problem with DaVinci Resolve. PowerWindows, polygons, or curves can be a colorist's best friend when controlling where you want areas of contrast. The only thing that limits you is the simplicity of the shapes. When shooting on set, a pattern or "gobo" can be placed in front of a light source to create shapes. We can use the same technique in Resolve by using external mattes. In this tutorial I will show how to create more intricate shadows or highlights that can make your images more moody or suggest location. LINKS: Directory of Gam Patterns: bit.ly/gampatterns Images used in this tutorial: bit.ly/noirpatterns image courtesy of Marta Colpani: flickr.com/photos/martacolpani/4934952722/ Noir Shadows and Highlights with DaVinci Resolve-HD.mp4