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  1. This course is for those who have already seen the Fairlight Fundamentals course and want to learn more about audio mixing and advanced audio editing features. You'll learn everything you need to know to edit, mix, and deliver your video to meet the technical specifications for digital broadcasters and TV. All within DaVinci Resolve Fairlight. The project files include both a mixed and an unmixed version of a commercial with voice over, dialogue, sound effects and music so that you can practice. Some of the topics discussed in the course are Elastic Wave Retiming, Zero Crossing, Audio Transients, LFE channels, and working with Flexbus. You will also get a deeper understanding of 5.1 surround mixing and a look at immersive mixing. The footage and assets used in this course are available for download. 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? Film editors Sound engineers with background from ProTools, Logic etc Audio hobbyists Lessons overview 01: Introduction 02: Getting the Commercial Ready for Mixing 03: Elastic Wave Retiming 04: Audio Transients 05: Zero Crossing 06: Evening out the audio 07: 5.1 Output Track Setup 08: 5.1 Hardware Monitoring Setup 09: Surround Sound Analyzer 10: Surround Audio Pan Window 11: Surround Audio Vs Immersive Audio Pan 12: Surround Automation 13: Creating an LFE Channel 14: Working With Flexbus 15: Loudness Basics 16: Analyze Audio (Loudness) Levels 17: Working With Loudness Visually 18: Delivering the Mix 19: Delivering Split Elements
  2. Lowepost


    The director, Sean Thompson, wanted a warm sensual look for the spot, with a sense of gold permeating throughout. The colour reference that Sean had in mind for this was the desert fight scene from Kingdom of Heaven, directed by Ridley Scott. The challenge was to get all of the footage looking as though it was during the ‘magic hour’, when for example the opening of the commercial was shot at midday. Also, even though we went for a heavy golden look, I had to make sure it looked clean and sleek at the same time. LUTs The spot was shot on Alexa with anamorphic lenses, and graded on DaVinci Resolve. I sometimes use LUTs in my grade because that gives the picture more depth and make it look more cinematic, less digital. If utilising LUTs, I like to blend them through, so that I’m left with maybe only 5 or 10 percent of the intensity of the LUT. READ: Mitch Bogdanowicz about LUTs I find that with all the digital cameras nowadays everything is very flat, especially the skin tones, so I'm using certain LUTs that help the skin tone (giving it more colour and volume). Set your levels right One of the first rules when you train as a colourist is to set your levels right. When I first started grading, about 14 years ago when obviously we were working predominantly on film, the first step in a grade was 'Neg matching'. Meaning you would bring your neg's RGB levels to a correct point in the whites and blacks (with no crushing and no clipping). That would allow you to start with a balanced picture. An exception being when certain coloured filters or lights were used. The same still applies today, only that when working with a digital picture rather than film, it can be trickier because sometimes the footage that we get is not straight from the camera and it might have been already compressed into a QT prores, therefore not having all the range to work with. This is why it is always important to provide your colourist with RAW files, allowing the maximum range within which to work. When working on the RED or RAW files, etc, I sometimes use the camera settings option in Resolve to change the exposure or get more info in the blacks or highlights. Then, I use the primary colour corrector to set the levels right. And yes, it's very important to start the grade with a good balanced picture because it is the only way you can get the most out of the picture (and know what your limitations are as well). The golden look After I set my picture balance right, I start working on the look that the director and the DOP aim for. With this particular film ‘Legacy’, it was all about the golden sunset look. I like to work on the overall picture, and I find that this way the look is more natural, not so 'Instagram'. Having said that, on the Legacy film I selected the highlights and added a touch of warmth in them, as I was trying to recreate the warm late afternoon summer sun. I also used few subtle vignettes throughout, to make the picture look a bit more cosy and ad more depth. I kept a good healthy contrast that complements the lovely anamorphic flares from the camera. To help enhance the cinematic look I also added a touch of grain in the picture. I find that it's always great to add some texture into the clean digital images. In general, I use the vectors and qualifiers a lot, also lots of windows, the contrast and the amazing midtone detail both in the DaVinci Resolve primaries. Skin tones I like to start working towards a look in small steps, as I find it very important to keep good skin tones in my grades. With a golden look this can be a bit tricky, as in order to create it you need to find a fine balance of yellows and reds. I find that with a lot of digital cameras, skin can often look really grey and flat, so I like to add colour and some depth into the skin. I think that one of the most important things is to always having good skin tones and ensuring that they work with the rest of the picture. Basically if the picture is lit with a blue light, I think its fine to have cool skin tones, it looks natural. The briefs are different for different brands and types of films, from the translucid skins of high fashion models to the nice peachy skins of pampers babies. One colour that always creeps into the skin tones is green and I find that it is a very delicate balance of removing that and not making it look too magenta. Colour influences perception, sometimes in an obvious manner and sometimes in far subtler and unexpected ways. Fundamentally, what we’re always contending with are levels of hue, saturation, lift, gamma and gain. The balance of these and their effect can on a subjective level be quite finite but there are some accepted and proven conventions to the psychology of colour, that as individuals all of us generally adhere to, in so much as eliciting similar emotional responses; bright & warm equals happy, cold equals sad. Colour can be used to associate a positive or negative tone, make us hungry, encourage feelings of calmness or energy, etc. Clever advertising and marketing executives are of course aware of this. When you’re an established colourist and working at a certain level, it’s all about the fine details. Nowadays with a plethora of apps and software available it’s not too tricky to add a funky look to a picture but in my opinion if a grade looks as though it was done on an app, there’s not much value to it. I always try to stay true to what the cinematographer had in mind when he shot the film, and go from there. I would also say that it is very important to be interested in cinematography and photography in general. To continue to learn and be inspired. The technical side is a large part of the craft, it is important to have a thorough understanding of the pipeline, which will give you confidence in handling any job. Social and communication skills are also very important. Simona Cristea All images and clips copyright © 2016 Cake Group / Dark Energy
  3. The music is composed specifically for the commercial.
  4. We just posted a new in-depth course about Look Development and Workflow in DaVinci Resolve 17 with Jason Bowdach. This is an intermediate course and you will learn complex saturation workflows, how to evaluate and recreate film emulations, analyze and create film halation, create custom black and white look, film grain methodology, the teal and orange look and much more. It's a solid course that every colorist should watch, and even the most experienced can learn useful strategies, techniques and color theory that helps stay on top of the game. Read more about the course here.
  5. Welcome to an in-depth course in Look Development and Workflow in DaVinci Resolve. This is an intermediate course for colorists that want to gain a solid understanding of look development workflows, color management, and color theory. You will learn complex saturation workflows, how to evaluate and recreate film emulations, analyze and create film halation, create custom black and white look, film grain methodology, the teal and orange look and much more. At the end of the course, we challenge you to use what you have learned, to color grade your own version of an award-winning commercial. The footage used in this course and a free sample of 35mm film grain is available for download so that you can easily follow along. Download project files About the instructor Jason Bowdach is a colorist and finishing artist based in Los Angeles, California. He's a Blackmagic Design certified instructor specializing in color and finishing, and he has an extensive background in film\tv post-production with large-scale international distribution at studios like Disney and Fox. He is also the founder of PixelTools, a company that creates color grading tools and presets for DaVinci Resolve. Who is this course designed for? Intermediate colorists COURSE OVERVIEW LESSON 01: HERO SHOTS Going through methods for evaluating which shots to include as hero shots. LESSON 02: COLOR MANAGEMENT & BASE GRADE Preparing the project by setting up the color management and color space aware tools. Looking at how to work with exposure and balance to preserve details while keeping the integrity of the cinematography and the context of the story. Also going through some image-analyzing tools that helps make better decisions in the base grade process. LESSON 03: LOOK WORKFLOW AND FILM PRINT EMULATION LUTS In this lesson, we're diving deep into workflow for look development and node organisation with node hierarchy. Then, looking at film print emulation characteristics and setting up a workflow to get the best result out of them. LESSON 04: WORKING WITH FILM PRINT EMULATION LUTS Using printer lights and film print emulation on a commercial using the established workflow. Also, discussing order of operations, ways to kill off saturation, whether to apply noise reduction before or after the grade and general color theory. LESSON 05: SILVER HIGLIGHTED LOOK Demonstrating three different methods to create the Silver Highlighted Look (Bleach Bypass) on a color chart. The methods include midtone detail work to add micro contrast, shaping luma only curves and primary controls. LESSON 06: LOOK ADJUSTMENT Now it's time to implement the look into the established workflow, on top of the base grade. Explaining how to adjust for best possible result and consistency. Then, experimenting by mixing silver looks. LESSON 07: EVALUATING & RECREATING FILM EMULATIONS Diving into the characteristics and behaviours of film emulations, and recreating the essence with curves. LESSON 08: CUSTOM BLACK & WHITE LOOKS The RGB mixer and the Splitter & Combiner node is used to gain better control over black & white images. LESSON 09: ANALYZING & CREATING HALATION Analyzing halation on images shot on film, and creating halation that can be used in a variety of looks from scratch. Talking about the benefits of working in linear light and converting between color spaces. LESSON 10: FILM GRAIN METHOLOGY Using charts and scopes to evaluate grain, and continue to emulating both negative and positive film grain. Looking at the best ways to integrate grain for most visually pleasing result, and setting up a real film-scan-grain workflow. LESSON 11: TEAL & ORANGE LOOK Building the classic teal & warm look with curves on a test image and charts. LESSON 12: TEAL & ORANGE CONTINUES Going through two more methods to create the teal & orange look, using both primaries and the color warper. LESSON 13: COMPLEX SATURATION WORKFLOWS Going through different saturation tools, and looking at color management to create technical accurate saturation response in non-managed workflows. Then, using the LAB model to adjust saturation and using HSV and HSL to create deep filmic colors. LESSON 14: COLOR MODELS EXPLAINED Looking at some color models to better explain what happens with saturation when converting between different color spaces. LESSON 15: HARDWARE & 3RD PARTY SCOPES Jason walks you through his hardware recommendations and looks at Nobe Omniscope. LESSON 16: CHALLENGE In the last lesson, we're challenging you to re-create the original grade of a commercial using the techniques and strategies from this course.
  6. We, Lowepost have challenged a selection of the worlds best colorists and color scientists out there to create a collection of "looks" for DaVinci Resolve. That will result in a product called Ravengrade.com with official release in Q1 2022. It's now open for pre-order and the first 100 will get the product for a highly discounted price ($69). Why pre-order? The price of this premium product will increase several times before it's officially released, and customers who pre-order will get access to an extra set of looks that will not be possible to buy after official release. Go to ravengrade.com to pre-order the product.
  7. Lowepost

    Color couch podcast

    The Color Couch is a podcast hosted by Vincent Taylor, who works as a Senior Colorist and is based in Los Angeles. In this podcast Vincent chats with industry professionals including Colorists, Cinematographers, Directors and more. You will get a glimpse into their roles in the industry and how they got there. The conversations include some exclusive behind the scene stories and a few bad jokes from Vincent as well. Make sure to check back regularly for the latest episode. Enjoy the podcast!
  8. Lowepost

    The New Arri LUT

    ARRI have introduced a new Rec 709 LUT that seems to have gone unnoticed by some colorists because it’s not available inside of DaVinci Resolve. It gives a better representation of reality, and features several improvements over the classic ARRI K1S1 LUT that most colorists are familiar with. We have talked to Senior Colorist @Florian 'Utsi'Martin from ARRI and the designer of ARRI Look Library about the main differences. The difference The most obvious change with the new rendering is increased contrast in the shadows and midtones. Even though the contrast is stronger, the shadows are cleaner with less saturated colors which is more in line with how we perceive colors in reality. The main focus with the new LUT was to reproduce the strongest and most vivid colors in a more natural way. These colors are usually too bright and saturated because of the simple matrix often used in video rendering, and the new LUT is definitely superior compared to the classic one. Below we can see how different the concert light, the orange sweater and red strong color on the left side are reproduced with the two different rendering options. The colors are deeper and the color separation is better. The changes plays into all colors and it’s especially visible in the greens which sometimes can feel a bit artifical in video. With the new rendering, the greens appear more natural because of the cold desaturated tones that are pushed into it in combination with the decreased brightness levels. This gives the colorist a much nicer image to start working on. Skin tones also appears cleaner and more pleasant with the new video rendering. It's a very subtle change and is most noticeable in dark shots. Where to get access to the LUT? The old ARRI K1S1 LUT is now renamed to ALEXA Classic 709 and the new one is called ARRI 709 inside all ARRI cameras on the market. It can be downloaded here on Lowepost or be generated in ARRIs LUT generator. The new LUT is the default Rec709 choice in all the ARRI cameras available (AMIRA, SXT, Mini, LF and MiniLF) and colorists should have access to it to be able to recreate the exact same image that was displayed on set. Unfortunately, BlackMagic Design have not updated their LUT folder inside of Resolve so the LUT needs to be downloaded and placed in the folder manually or extracted from the metadata of a recent recorded clip. How to install the new LUT in DaVinci Resolve 1. Open DaVinci Resolve Project Settings 2. Click Color Management 3. Scroll down and click Open LUT Folder 4. Copy the LUT and click Update Lists The shots used in this post can be downloaded here.
  9. I n this guide, world-renowned visual effects expert Lee Lanier from the learning platform Lowepost will walk you through the most common tracking types available in modern compositing applications. No single tracking type works with all shots, and as a compositor it’s important to learn which tracker works the best in each situation. 1. Transform Tracking Transform Tracking is the simples tracker available in most applications and occurs in 2D. It's able to track the X (left/right) and Y (up/down) motion of a pattern over time. This type of tracking is often called Matchmoving, as you can use it to impart motion to a new element as if it was shot with the original real-world camera. For example, if you want to add a moon to a sky of a shot where the camera has minimal movement (say a short pan, dolly, or handheld tilt), Transform Tracking is a good choice. In this shot from the Tracking Complex Surfaces in Nuke and Mocha Pro course, Transform Tracking is used to track reflections onto the visor of the helmet. Although it's often only necessary to use one track point to track one feature, you can use two track points to track two features and thus detect simple rotation and scale changes. The rotation must stay “flat” to the camera (a rotation along the camera's Z axis) and the scale changes are limited to those created when the camera zooms or changes its distance from the tracked feature. 2. Corner Pin Tracking This tracking builds upon Transform Tracking by adding three more track points for a total of four. In other words, it tracks four separate patterns over time. It's ideal for tracking anything rectangular. For example, you might track a door, window, poster, billboard, or Ipad screen. Learn more about screen replacement with corner pins in these courses for DaVinci Resolve Fusion and After Effects & Mocha Pro. Although each track point operates in 2D (in the XY directions), having a total of four points allows the tracker to detect perspective or rotational changes to the rectangular object. In the example below from the Tracking Complex Surfaces in Nuke and Mocha Pro course, Corner-pin Tracking is used to replace a logo on a jacket that rotates. Instead of imparting the tracked motion to a new element, a corner-pin tracker distorts a new element to fit the tracked rectangular object. Each corner of the new element is moved to the matching corner of the tracked rectangular object. 3. Stabilization Stabilization uses Transform Tracking to analyze camera movement, and you can use the inverted motion to stabilize the original footage. For example, if you have a hand-held shot with some minor motion, you can use stabilization to make the shot appear static. The shot above is from a course about building replacement in DaVinci Resolve Fusion, and the stabilization is used to make the rotoscoping process of the building in the background easier because it stands still. When the rotoscoping is finished, the motion is added back in. This technique is called Reverse Stabilization. 4. 3D Camera Tracking 3D Camera Tracking is the most technically complex form of tracking, although it can be easy to apply. It's designed to detect camera motion within a shot and reconstruct the camera's basic properties in 3D space. This is a suited method for any shot where the real-world camera is moving along all three axes (X, Y, and Z). For example, if you have a hand-held shot where the cameraman is walking forward, you can use this tracking method to add a new element into the shot, so that the element picks up all the complex movement created by the original camera. The new element might be a piece of 3D geometry imported from a 3D program such as Maya or 3ds Max, or a “card,” which is a 2D layer placed within 3D space. In this example from the Introduction to Visual Effects in After Effects course on Lowepost, 3D camera tracking is used to track two arrows to a tree. 5. Planar Tracking Although Planar Tracking appears similar to Corner-pin Tracking, it's much more powerful and sometimes easier to use. Planar Tracking can be done in Nuke and Mocha Pro and tracks a planar feature through space over time. Because the tracker is not concerned with corners or edges, but instead tracks the entire established feature as if it were fixed to a plane, it can accurately detect perspective and parallax changes. In fact, the corners of the feature can leave the frame or become temporarily occluded and the tracker will continue to work. For example, you might use Planar Tracking to track the road as a camera drone moves by, and then use the tracking data to distort a new road marking as seen in the Tracking Complex Surfaces in Nuke and Mocha Pro course on Lowepost. Planar Tracking also allow you to define the tracked feature by drawing one or more closed spline shapes with an arbitrary number of spline vertices for detailed control. 6. Mesh Tracking Mesh Tracking is a new style of planar tracking available in Mocha Pro. It’s an advanced Planar Tracker able to track complex organic surfaces, and it works by sub-dividing the surface to detect small motions for much more detailed control as you can see in the image below. Mesh Tracking can for example be used to detect the surface deformation of undulating clothes or rippling skin and in this particluar example to add a lip-piercing and a tattoo that moves naturally with the face expressions. It can also be used to add a logo to a flapping flag, digital makeup, help out with rotoscoping or to add a matte painting of scars and bruises as in the example above from the Tracking Complex Surfaces in Nuke and Mocha Pro training on Lowepost.
  10. A color grading monitor is the heart of any color grading suite, and there are many options on the market. A true reference monitor with precise color reproduction is a big investment, and we will guide you through the most common models used in post-production facilities around the world. Professional color grading monitors let you evaluate the image with extreme accuracy, which is required when you have to make guarantees about the delivery. They are reliable over time and ideally equipped with useful features that make your job easier, such as advanced real-time scopes, split-screen viewing, anamorphic de-squeeze, and pixel zoom functions. 1. Flanders Scientific DM240 (24") The most acclaimed color grading monitor in the professional range is the 24-inch DM240 ($4295) from Flanders Scientific, Inc. (FSI). FSI is trusted by the colorist community for the quality of their products and are known for their excellent service and support. The 1920x1200 (HD) resolution display comes with a specialized toolset tailored for colorists. It includes a variety of video and audio analysis tools like Real-Time Customizable Multi-Color Waveform, Parade, Vector, Histogram, and multi-channel audio. It also supports advanced features such as ScopeStream, Image Flip, Second Screen Output, and many other features that can’t be found in more affordable models. In addition, it has a ton of on-set features like LiveGrade integration, zero delay mode, and DIT Look LUT functionality, which makes it shine on set as well as in the suite. The DM240 comes pre-calibrated from the factory and FSI offers free lifetime re-calibration for customers that would like to send the units to one of their service departments. It also supports AutoCal, an internal auto-calibration solution that lets you perform a fast and accurate calibration. Simply plug a supported probe directly into the monitor and the calibration is performed in one simple, fast, and unified operation without the need of any software. The probes supported for this solution are the affordable x-Rite i1d3 OEM Probe, Colorimetry Research CR100, Klein Instruments K10A, and Minolta CA310. The more affordable x-Rite is accurate enough for professional use, but the others will provide extremely accurate results. This is definitely one of the most dependable, accurate, and trustworthy reference monitors available on the market for 1920x1080 delivery. 2. Eizo CG319X (31") An alternative to the DM240 is the 31-inch CG319X ($5739) from Eizo’s CG-professional line. This is a popular model that is widely used by professional colorists working in smaller studios, and the screen is a bit larger. It displays 4096x2160, which is ideal when delivering projects in 4K and provides superb color accuracy. Eizo is generally known to create great monitors, but you need to be aware of their limitations. The built-in calibration capabilities can offer users an affordable way to get you started, but a 3rd party calibration solution like, ColourSpace or Calman, would be needed for more accurate calibrations. The feature set is limited and popular analysis tools available on professional monitors from FSI and Sony are missing. It has basic functions, such as safe area and aspects markers for checking how text, graphics, and compositions of a scene will appear in other viewing environments, and a useful zoom function that lets you confirm small details and check focus accuracy. While most professional monitors have SDI connections, it's worth nothing that the Eizo monitors have HDMI only, so make sure your output device supports HDMI. The CG319X is a reliable color-accurate 4K monitor that is widely used in professional environments, but you need to be aware of the limitations and weigh up the pros and cons. 2. Sony BVM- E251 (24") Sony has always been a significant player in the color grading monitor market, and their only alternative in this segment is the 24-inch BVM- E251 ($10,595). They have always offered highly accurate displays, consistency, and for many facilities a certain amount of brand awareness that can make some clients more comfortable. The monitor comes with limited external calibration possibilities and claims that 3D calibration is not needed. This is a debated topic, but most reports show they rarely drift and small adjustments to white and back points are all that is required. Many of the high-end color grading facilities already own one of the top of the line mastering monitors from Sony, and it can make sense to add this to their arsenal as it will offer a better perceptional match to the other models. While it offers a very limited feature set, the viewing angle for picture evaluation is exceptionally good and allows several people to sit around the monitor and evaluate the image at the same time. PROFESSIONAL HDR MONITORS The color grading monitors mentioned above are all capable of displaying standard dynamic range images, which is the current standard for video and cinema monitors. If the plan is to deliver work in HDR, you are looking at a significantly higher price range. For real HDR, you will have to invest in a monitor, like FSI’s flagship XM310K ($25,000) with 3000 nits. Eizo’s CG3146 ($30,000), and Sony’s new BVM-X310 ($30,000) are limited to 1000 nits. The most popular model in the high-end facilities today is undoubtedly Sony’s discontinued model X300, however, the FSI XM310K is a strong candidate to become the new number one in those facilities. OTHER ALTERNATIVES? To be fair, there are other professional reference monitors and brands that could be on this list, but we have narrowed it down to the most common ones. There are definitely colorists successfully working on smaller 17-inch color grading monitors in the professional range and 8-bits production monitors, but we have deliberately excluded those from the list. Many have also great success working on Asus Pro Art, LG CX 55” and other consumer alternatives. Just bear in mind that the signal processing on those screens is not necessarily at the same level as on professional monitors, functions are missing and they often have underlying issues such as noise, banding, poor screen uniformity, etc. If you go this route, be prepared to participate in the panel lottery. As the budget and scale of distribution for a project go up, there could be financial risks involved and certain requirements for the delivery, so you need to rely on your reference monitor. Good luck with your choice! By Stig Olsen Thanks to @Jason Myres for contributing to this article This post might include affiliate agreements, for full information click here.
  11. You need to download it from the site Kevin visits, we're not allowed to provide it from our own download link - https://www.arri.com/en/learn-help/learn-help-camera-system/camera-sample-footage