Lowepost

On 5/16/2019 at 11:22 PM, Grant McNair said:

Really love this, and all of the LowePost courses.  One thing that is missing, and would make all courses better, are speed controls on your video player.  Thanks!

Thanks for your kind words Grant. Click the wheel and clock and you will see the speed controls

3 minutes ago, Evan Anthony said:

I went to that link to download the DCTLs but not sure where they are on that site?

 

Hi Evan. You can find some in the folder named "DCTLs" on this link https://github.com/baldavenger

The last lesson "Introduction to 360 VR" is now published.

5 hours ago, karl ellison said:

Is this course complete?  Or are them more lessons to come?

 

Thanks
K

Hi Karl, the course is complete but we might add some new lessons later.

On 3/4/2019 at 8:17 PM, Gasa E Kenny said:

Love this course, any chance you plan to do this for Resolve Fusion in the future because it's so good. 

Glad you liked it. No immediate plans for a similar DaVinci Resolve Fusion course but you might find the techniques you are looking for in the new Introduction to Visual Effects course.

1 minute ago, Jesper Hammarbäck said:

I would love to learn how to do change the body like liquify in photoshop.

Body stretch and symmetry will be covered in several upcoming lessons.

3 hours ago, Julien Souloumiac said:

Hi, 

Thanks a lot for this. 

Can you just explain the use of the transform node in lesson 2 ? Can't we just right click on the center of the ellipse node and connect it to  tracker1 ?

Thanks a lot for your answer and for this great job, 

Julien

Thanks! 

If tracking data is connected to the Ellipse tool, Fusion won't allow it to connect to an Effect Mask input.

And, if the Ellipse is already connected to the Effect Mask input, the tracking data option disappears from the menu.

23 hours ago, Craig Harris said:

Great tutorial and looking forward to the remaining.

I'm curious if you'll be covering the use of multiple shapes with tracking/perspective tracking?

Many thanks.

Thanks Craig! Lee will cover planar tracking masks and matte paintings in several of the upcoming lessons.

On 12/24/2018 at 10:57 AM, Virgil Edward said:

I can't download the project file.

Hi Virgil. Click on the button and it will automatically download. We have sent you an email with the files in case it still doesn't work for you.

10 hours ago, Frits Jan Smit said:

In the Adobe workflow you can change text to all caps. This is very useful when you copy text delivered by clients. That way you reduce making mistakes as you do not need to retype. I could not find all caps parameters in Fusion. IS there any solution in Fusion?

Unfortunately, that's not possible inside of Fusion.

2 minutes ago, Evan Anthony said:

I'm really interested in lessons that are for more for Post Finishing editors. So basic roto, cloning w/tracking, end credit rolls with smoothing Technics like expressions in AE to help credit rolls be smoother.

 

Thanks for the input! Many new classes are one its way, and we will have those things covered. 

On 10/8/2018 at 6:21 AM, dermot.shane said:

ThanX folks, really good information presented clearly. looking forward to the next one...

i'm interested in a few things in the short term

- sky replacement + 3D camera solves + fixing tracking errors / editing tracks

- end rollers

- sending roto/tracks/masks to Resolve's color page

these are all things i roundtrip currently to other software

Thank you for the kind words and great inputs! We have a separate course about sky replacement and the "Introduction to Visual Effects in DaVinci Resolve" course will cover most of the topics you mention. The digital retouching class also covers some of the topics.

On 10/5/2018 at 4:08 AM, Kelly Luck said:

If I subscribe, do I get access to the video files being used in the tutorials so I can follow along? Or should I just grab some scrap video of my own?

You will get access to download all the footage and assets used in the course.

3 minutes ago, Guest Kelly said:

To what extent is this course geared toward people interested in Visual FX work? I really want to learn how to do the 3D masking and tracking so I can do serious compositions.

Fusion has been used on feature films like The Hunger Games, Dr Strange and Guardians of the Galaxy, as well as hit television shows like Empire, NCIS and American Horror Story. The Fusion Fundamentals Training is a perfect start for anyone who is interested in learning visual effects and compositing, and when you are ready to learn more advanced techniques we got it covered.

Hi @Frank Wylie

There are a few points to consider in the image chain. First, what is the camera data metric? Is it a standard format such as Rec-709 with an implied tone scale or a manufacturer specific metric i.e., Arri RAW log-C or other standards such as ACES. And in ACES is it AP0 (full ACES, original) or ACEScg which is a reduced gamut, close, but outside of Rec-2020.

Anyway, for most color correctors (not the special effects programs like Nuke etc., which deal mainly at its core in true scene linear data), the data from the camera should be transformed into either some sort of log data or gamma-linear data.

There is a bit of confusion about “linear”. True linear is scene referenced and is intrinsically gamma 1.0. What many people call linear is actually gamma-linear, which means that the inverse of the display device gamma is applied to the data with the hope that after it is displayed, then the output of the display is linear. Actually for perceptual reasons, the gamma of the output of a monitor/projector is somewhere between 1.1 and 1.2 to account for the human perceptual preference.

That brings us to the LUT. One rule of thumb for any reasonable size LUTs < 256^3, is to never push through true linear data because odd artifacts will occur. For example, if a LUT is designed for log Cineon input (by the way, never use a LUT with a data metric that it was not designed for) in 10 bits, it is 0 – 1023. If the output of the LUT is P3 then it would display correctly on a P3 monitor/projector if the image was truly in Cineon Log.

In your 1st image chain, you indicate a Log-lin LUT, actually, you would need a camera color space to Cineon log conversion, then go through the film emulation LUT. If the P3 will then go to a recorder, it must go through a P3 to Cineon log LUT which is the INVERSE of the Cineon film LUT.

LUTs could be built/tailored for other input metrics (except true linear for normal sized LUTs), one could create a LUT that inputs gamma 2.6, or gamma 2.2 etc., in these cases, the tone scale is sufficiently compressed to work in a 3D LUT. But it would be different than a normal Cineon film LUT.

If you desire a film look then the camera data must be converted into a log data or into a gamma data (usually gamma 2.0 – 2.6) Then this data is passed through a 3D film LUT designed for the exact data metric you have. The output of the LUT is usually P3 since it is a straight forward conversion to Rec-709 which is a smaller color space. You also must gracefully remap any out of rec-709 gamut colors from the P3 color space. This allows grading for theatrical release and then in a color consistent way go to home video release. This P3 output could go directly to a projector or if a filmout is needed, then a P3 to Cineon log LUT is used.

If the data is Cineon log, then the color correction is on that metric and the log to P3 LUT is only used for display or P3 deliverable, then the Cineon log data can go directly to the recorder. If it is any other format, gamma etc., then there must be a robust (color wise) transform to Cineon log to go to the recorder or use a P3 to Cineon log 3D LUT.

The film recorder is usually calibrated such that the input code values (Cineon log) are treated as digitized code values representing printing density. Usually code values of 445 RGB on input are mapped to the 18% gray density position of the intermediate film stock. This “LAD” is similar but not equal to the camera film LAD density position. There are Kodak articles online that talk about film recorder calibration, but if they are no longer there or hard to find I could at a later time expand on that.

For an ARRI Alexa output the RAW data from Arri’s software to log-c then apply a normal Cineon log LUT and grade the log data to display in P3.

For Red, output from REDCine-X Pro in red log and probably rec-2020 color space then apply a normal Cineon log LUT and grade the log data to display in P3. For the same scene, both of these will be quite different but then it is the job of the colorist to make the scene look as the project desires. Whichever way, if you grade the log data through the Cineon LUT, the log data could go directly to a recorder.

If your camera’s metric is rec-709, then it must be transformed to true linear, then to Cineon log (or a direct transform) for use with the LUT.

I hope this helps, I did not have a lot of time to respond, many things going on. If there are any other questions / clarifications let me know.

Cheers Mitch