Lowepost

Learn essential and advanced chroma keying techniques in our new DaVinci Resolve Fusion course!

This course will prepare you to take up any complex task such as poorly lit green-screens, spill issues, fine details, reflections, tracking marks, soft lenses, and much more with confidence.

Read more here

Hi Anders. We stopped and did some look lessons in the professional color grading courses instead. When it comes to our plan for color grading and look creation training we will release a masterclass with one of the top colorists in Hollywood before the summer. 

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/

On 10/11/2019 at 4:28 PM, Ron Schieffer said:

Is there already a release date in your mind? thanks.

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.

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.

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.

On 5/22/2018 at 3:43 PM, Misha Denisov said:

Tom, could you please provide a link? Can't find it.

Hi Zamora. RED (IPP2) and RAW workflow is covered in our new Color Management Workflow Training that was published today. 

Assimilate and Lowepost just released the SCRATCH Essential Tutorial Series with superstar instructor @Kevin P McAuliffe

SCRATCH is extremely powerful and a great addition for DaVinci Resolve colorists who want to add another excellent conform and finishing tool to their toolkit. If you are a premium member on Lowepost.com, you get 20% member discount on SCRATCH.

The SCRATCH trial can be downloaded here

Enjoy!

What is a Premium+ member?

We wish to thank active forum members and the most helpful people in our community for their contribution, by promoting them to Premium+ members.

What are the benefits?

• Exclusive access to courses and articles prior to release
• Software discounts
• Private forum

Why access prior to release?

This is one way to thank our members, but it’s also an effective way for us to gain early feedback on our content and make changes.

How can I become a Premium+ member?

Active participation in our forums are the most important reason for promotion, but people might be promoted for assisting with research, recruiting forum members or for putting us in contact with people that allow us to create great content, etc. The requirements are not set in stone and is always up to the evaluation of Lowepost.

Simply participate, help build our forum and you will catch our eyes in due time.

Can I purchase a Premium+ membership

Premium+ memberships are based on invitation only.

The first lesson in the Conforming in DaVinci Resolve series is just posted!

We just published a master study about printer points in DaVinci Resolve!

Thanks to John Daro, Douglas Delaney, Dan Muscarella, Martin Utsi, Tyler Roth, David Cole, Walter Volpatto, Adam Inglis, and Paul Ensby for contributing to this article.

https://lowepost.com/colorgrading/insights/printer-lights-r33/

It's online!

Thanks for your kind words and feedback! Glad you enjoy our courses, we have a very exciting new one coming up for Fusion users very soon.

The FCP X forum is up now. 

Hi Jeremy. We are a bit behind on this as we have been wrapping up two new full courses the last weeks. But I promise that we will post it in January. 

Hi Kat. 

Thank you for your kind words!

The Fusion Essentials series has been very well-received by our members so we have started to record a full "DaVinci Resolve Fusion for Finishing Artists"-series that will follow up where Kevin left. We can't wait to tell you more about it. 

And... We just wrapped up a new course about beauty retouching that will be available soon!

Hi Karl, we are still working on it but it will be out next month.

We just posted a new 6 lesson course about sky replacement in DaVinci Resolve. Learn tracking, luma keying and much more. Footage and projects files included.

Enjoy

Hi everyone!

We are proud to introduce The Fusion Essentials Training with instructor Kevin P McAuliffe.

With more than 100 minutes of in-depth fundamental training, you will get up to speed with Fusion inside of DaVinci Resolve and gain the knowledge you need to start creating your own effects. I promise easy-to-follow tutorials and that this is worth your time.

The first lesson is now available on the link below for free! New lessons will be posted every week starting from this week, and those will be available for premium members only.

We guarantee that we will publish new video tutorials every week the rest of the year so this is a good time to join us if you haven't already.

More to come, this is just the beginning. Enjoy!

Click here to find it.

Lowepost

The popular duotone-look was re-introduced with the new colorful brand identity of Spotify. In our new look tutorial we walk you through how to create it in DaVinci Resolve. The RGB-mixer plays a powerful role to highlight important parts in the image. 

Watch it here!

Hi Everyone!

Sam Daley is one of the top colorists in New York and in our latest blog post he reveals his time management strategies. Time management is essential in color grading and a topic many of you have asked if we could cover!

Read about project preparations, how to inspire the client, the 24 minute mark, lunch breaks(!), the good and bad cop relationship, client wish lists and much more!

Sam also shares a print of his base starting point node tree.

Enjoy!

Parker Jarvie works as an senior color assistant in Company 3, and in our latest blog post he explains how he got into the company and what it takes to work your way up in one of the top post-production companies in the industry.

Read about the tasks and responsibilities, the team work, client relationships, and how he was given the opportunity to build his own client base after seeing how it's done successfully at the highest level, and gaining the trust of the senior colorist.

Enjoy!

PS: Let us know if you want to contribute to the blog!

On 2/3/2018 at 10:04 PM, Bryan Tran said:

Thank you Mitch! That's really helpful, but I have a couple of questions. What is "log scene exposure" and "balanced log Cineon CV input"?.

 

The log scene exposure is the negative log (base 10) of the linear lightness of elements in a scene. By convention, the 100% scene white (as 1.00 brightness) is - log(1.0)  = 0.0 Log exposure and the 18% gray is -log(0.18) = - (-0.7447) = 0.7447 Log exposure and a 20% gray is -log(0.20) = - (-0.69897) = 0.69897 Log exposure and a 2% black is -log(0.02) = 1.69897 Log exposure.

The gamma of film is nominally 0.60. So the Log exposure needs to be multiplied by 0.60 to obtain Log scan densities. In Cineon terms the 0-1023 CV yields a scan density range of 0.0 - 2.046 where each CV is 0.002 scan density (referred to as printing density). To find the real Log scene exposure range that can be recorded the 2.046 scan density is divided by 0.60 = 3.41 Log scene exposure. Actually since the min. density is set at 95, the range is 95 - 1023 = 928CV =  928 * 0.002 = 1.856 which is then divided by 0.60 = 3.0933 Log scene exposure.

What is meant by "balanced log Cineon CV input" is the CV associated with a scan that has had a R G B constant either added or subtracted to achieve a neutral gray at near LAD  (445CV and corresponds to a 16% gray).

LAD is usually 445CV which is  is relative to the minimum scan density (0.0) by convention set at 95CV. Thus, (445-95) * 0.002 = 0.70 scan density. Since the scan density excludes any RGB minimum density (the scan density with no exposure), in this case the LAD scan density is 0.70 above the minimum base density.

In Cineon CV a 1 stop increase in exposure (0.30 Log scene exposure) is * 0.60 = 0.18 scan density difference, which if divided by 0.002 yield 90. Cineon CV per stop of original neg exposure. In the older printer lights , 1 printer light = 0.025 scan density or 0.025 / 0.002 = 12.5 Cineon CV, therefore 90CV ~= 1 stop exposure = 90.0 / 12.5 = 7.2 Printer points per stop.

So, to adjust an image in a color corrector that is stored as Cineon CV, for example, +2 PP (Printer Points) Red (brighter Red), -1 PP Blue, adjust image by adding  2*12.5 = 25 CV Red and subtracting -1 * 12.5 = -12.5 CV Blue

I hope this is not too confusing.

Cheers Mitch

Hi Anton and Bryan,

I am not sure , possibly due to they way the lut was built.

If you are using a "true 5219" lut then the input would be log scene exposure to then impart the properties of 5219 into the image. However, if the scene exposure was not handled properly to account for the spectral response of the film, errors can arise. Remember, log scene exposure is not identical with balanced log Cineon CV input. It may or may not be depending on the methods used. To get log scene exposure from a 5219 film scan, the data is "un-built" back through the film tone scale, conversion to printing density, removal of inter-image cross channel effect. This is not for the faint of heart. So, if Cineon balanced CV were put into a "real 5219" lut it is possible to get color shifts. Also, maybe all the existing luts have their genesis from the same error prone source. If used properly, 5219 can produce reasonable greens. The main problem with saturated greens from film in general is the print dyes. To make green it needs lots of yellow and cyan dye in the print. However, each of those dyes tail into the green some and have the effect of reducing the saturation. Due to the dye set it is unavoidable. In a lut, to get a yellowish green there is insufficient cyan dye to balance the yellow dye. That seems to be a lut color balancing or modeling issue.

Hope this helps

Cheers Mitch

Hi Everyone!

We are very excited to announce that Lowepost just published a new color blog!

The first post is about how to create Arri Look Files with Baselight, written and illustrated by senior colorist @Andreas Brückl, and the second one is a detailed 12 min video breakdown of a day-for-night scene from one of @Tobias Wiedmer's latest feature films.

Enjoy!

The Lowepost team!