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  1. You will have to change input color space to match the camera, in your case the Sony. The timeline color space can still be Arri Log C because you don't want your controls to behave different each time you're working with a new camera format.
  2. The input color space should be set to the camera color space which in this case is Alexa Log C because Alexa footage is used in the example. When it comes to the timeline color space in general, it only affects the "feel" of the controls, so it's purely a matter of taste. From our understanding Alexa Log C is definitely the most common timeline color space used in the professional world and especially among Baselight users.
  3. Thanks @James Lakey. We have seen this particular setup a couple of times, but you will quite different results by playing around in the same area, shifting hue angles and adjusting the strengths. The combination of dialing in extreme colors and mapping them to the tonal range by adjusting the strength is an extremely powerful technique that allows numerous of looks, but it can take some time to get used to. This is just an example. When it comes to hitting the numbers in general in all the lessons it's because we have walked through the lessons several times prior to recording and don't want to waste your time "experimenting on screen".
  4. We are not referring to order of operations inside of nodes at 04:09 in lesson 08. Th difference is that we are dialing in exposure AFTER the color adjustments and not the other way around as seen in all the other lessons. This is because we want to demonstrate the impact brightness and contrast adjustments has on color and the reason why we encourage you to do it the other way around.
  5. The first node will be optimized for the key operation only, and you don't necessarily want to build your grade on that. That's why you want to keep it separate from the main stream and leave it as a constant source to pull keys from.
  6. Hi Josh, Thanks for your kind words! @Jussi Rovanperä is right, it's the LUT that causes the shift in the other channels. When you watch any correction through any LUT, the relationship between the different color channels that the curve is made up by will influence the result. That means, by pushing one of the color channels through a LUT, the other two will be altered. The more aggressive the LUT is, the more of your correction will be altered. When you do a correction prior to a Film Emulation LUT, the result will be altered differently than in a pure Technical LUT because the relationship between the color channels that the curve is made up by is different. This is even true when adjusting the exposure only. Some LUTs will push more cold colors into the blacks when you lower the brightness, while others will push more warm colors into the highlights when you do the same thing. This is what we in the course refer to when we say that your corrections will expand and compress based on the shape of the curve. It's important to understand the relationship between the correction you do and the LUT you work under, also when it comes to exposure alone. This is the way color timers worked back in the days as the signal would be altered depending on what film stock (LUT in a digital world) it was watched through. This workflow is adapted in the high-end post facilities and is considered the purest and most natural way to correct an image.
  7. Hi Binh. We are working on a course in color grading and it will be released next month.
  8. Hi Meagan. You will get access to both the project files and footage.
  9. We are super excited to announce our new amazing course in Fairlight by Kevin P McAuliffe! Learn the basics of editing, recording and mixing, and complex concepts like equalization (EQ), noise reduction, busses, compressions and limiters, audio bouncing, automation etc so that you can dive into the world of audio with confidence. https://lowepost.com/finishing/courses/fairlight-fundamentals-r27/
  10. Hi Ron! We renamed the finishing course to "Introduction to visual effects in DaVinci Resolve Fusion and the beauty course is now in the course list.
  11. Hi Ian. We use the same player as Lynda/LinkedIn Learning and Pluralsight, but there are some restrictions when you use Safari due to browser limitations. Please use Chrome, Firefox or any of the others.
  12. Paint Fixing is the invisible art of removing unwanted objects and improving shots. Digital paint tools can be used to remove actors and logos from a shot, remove artifacts and to replace elements. Paint fixing has become an essential skill to master and DaVinci Resolve has all the tools you need to get the job done. The course content ranges from beginner to advanced, and is taught by Visual Effects Guru Lee Lanier who has written several books on the topic. Both the Color and Fusion module is used to demonstrate the techniques in this course. The footage and assets used in this course are available for download so that you can easily follow along. Download project files About the instructor Lee Lanier has created visual effects on numerous features films for Walt Disney Studios and PDI/DreamWorks. Lee is a world-renowned expert in the video effects field, and has written several popular high-end software books, and taught at the Gnomon School of Visual Effects in Hollywood. Who is this course designed for? Editors Colorists Visual Effects Artists Lessons overview 01: Paint fix overview 02: Using the Patch Replacer 03: Paint fixing with a mask in Resolve 04: Keyframing masks in Resolve 05: Paint fixing with a mask in Fusion 06: Paint cloning in Fusion 07: Animating strokes in Fusion 08: Removing dust in Resolve and Fusion 09: Fixing with the Planar Tracker in Fusion 10: Tracking a matte painting 11: Restoring the background Software required DaVinci Resolve
  13. 6 hours of high-end editing training by award winning editor and instructor Kevin P McAuliffe is out now! The course content ranges from beginner to advanced and is the ultimate course for beginners and editors with background from the other major NLE's that are looking to transfer to DaVinci Resolve.
  14. We are proud to introduce the most in-depth DaVinci Resolve editing course available online. This 6 hour long course is taught by the award winning editor and instructor Kevin McAuliffe, who works with clients such as Paramount Pictures, Warner Bros and Walt Disney Studios and has been an advanced master trainer for Avid for many years. Kevin's advanced editing background and training experience makes this course a must-see for every editor that want to start editing in DaVinci Resolve. The course content ranges from beginner to advanced and is the ultimate course for beginners and editors with background from the other major NLE's that are looking to transfer to DaVinci Resolve. The footage and assets used in this course are available for download so that you can easily follow along. Download project files About the instructor Kevin P McAuliffe is an award winning editor and visual effects creator with over 20 years of teaching and training experience. Over the past years Kevin has delivered world-class work for clients such as Warner Bros, Walt Disney Company, 20th Century Fox, Universal and Elevation Pictures. Who is this course designed for? Editors with background from Avid Media Composer, Premiere and Final Cut DaVinci Resolve users Lessons overview 00: Introduction 01: Project Manager 02: Keyboard customization & Preferences 03: Organization outside of Resolve 04: Intro to the Media Pool, Metadata, Smart Bins, Subclipping & Audio 05: Importing, Organizing and Prepping Footage 06: Organization via Facial Analysis 07: Timeline Creation, Drag and Drop Editting and Audio Setup 08: 3-point editing 09: Timeline Basics 10: Transitions 11: Trimming 12: The Inspector and basic keyframing 13: Adjusting animations 14: Working with Text 15: Working with Audio in your Timeline 16: Syncing Audio 17: Cutting Montages & Editing without Picture 18: Sending your Resolve Timelines to After Effects & ProTools 19: Dealing with 5.1 audio 20: Working with Motion Effects in your timeline 21: Multicam Editing 22: Dealing with Offline Media 23: Working with Markers 24: Adding Captions to your Edits 25: Formatting for Social Media 26: Creating DCP's - Resolve Studio 27: Exporting 28: Working in the Cut panel pt1 29: Working in the Cut panel pt2 30: Working in the Cut panel pt3 Software required DaVinci Resolve
  15. Thanks for your kind words Grant. Click the wheel and clock and you will see the speed controls