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In the DaVinci Resolve Beauty Retouching series you will learn everything you need to know about digital retouching and techniques which are useful on almost every single project you are working on. Learn how to clean up blemishes around areas that dramatically shifts and changes, build your own frequency separation from scratch, deal with flyaway hair, dark pupils, symmetry, teeths, dark shadows around eyes and much more. The techniques in this series will range from beginner to intermediate and advanced, but they are all easy-to-follow.. The project files and footage 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? DaVinci Resolve users and other finishing artists Some of the topics Clean up blemishes Build custom Frequency Separation Texture pop OFX in DaVinci Resolve 17 Remove Flyaway hair Body Stretch and Symmetry Lighten pupils Teeth enhancement Remove eye circles Skin improvement Software required BlackMagic Design DaVinci Resolve Enjoy!

In this tutorial series, our instructor Lee Lanier demonstrates creative techniques to clean up studio backgrounds in Adobe After Effects. Learn how to extend backgrounds, fix imperfections and even out uneven lighting fast and efficient using a variety of tools in After Effects The After Effects project files and footage are included so that you can 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? After Effects users Some of the topics Set extension Averaging backgrounds Advanced keying techniques Creating shadows Masking Tracking shapes Software required Adobe After Effects Enjoy the training!

We are proud to introduce a Fusion masterclass in sky replacement with instructor Lee Lanier! With 6 easy-to-follow video lessons, you will learn advanced techniques that can be used to replace a sky inside of DaVinci Resolve Fusion or with the standalone version of BlackMagic Design Fusion. The DaVinci Resolve project files and footage 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, Compositors and other finishing artists Some of the topics Motion tracking Keying techniques Inserting sky in the background Adding grain Simple color correction Software required A free version of DaVinci Resolve or the free standalone version of Fusion Enjoy the course! Project_Files.zip

We are proud to introduce a Fusion masterclass in background replacements with instructor Lee Lanier! With 7 easy-to-follow video lessons, you will learn advanced techniques that can be used to create complex and stunning effects inside of DaVinci Resolve Fusion or with the standalone version of BlackMagic Design Fusion. The project files and footage 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, Compositors and other finishing artists Some of the topics Motion tracking Stabilization Rotoscoping building-elements and face Fine-tuning roto shapes Inserting sky in the background Adding grain Simple color correction Software required A free version of DaVinci Resolve or the free standalone version of Fusion Enjoy the course! Project_Files.zip

We are proud to introduce The Fusion Essentials Training with instructor Kevin P McAuliffe! With 3 hours of in-depth fundamentals, you will get up to speed with the powerful BlackMagic Design Fusion inside of DaVinci Resolve and gain the knowledge you need to start creating your own effects. The matte clip that is used in the course can be downloaded below Download project files About the instructor Kevin is an award winning editor and visual effects creator based in Toronto with over 15 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, Colorists, Finishing Artists, DITs Some of the topics Understanding the Resolve/Fusion workflow Working with the Fusion Interface How do nodes work? Working with the inspector Animating with Keyframes Understanding masks Adding additional footage to animations Working with the merge tool Creating texts and titles Creating basic effects Mastering the transform node Basic 3D Software required A free version of DaVinci Resolve or the free standalone version of Fusion Enjoy the training!

T he Avid DNxHR and Apple Prores codec families are designed to meet the needs of modern, streamlined post-production workflows. These days we capture source material on a variety of cameras- action cams, smart phones, drones and high-resolution cameras, and codecs makes it easy to work with any formats. With the growing demand for 4K deliveries, we need fast and reliable codecs that ensure reel-time playback while maintaining superior image quality. Both the DNxHR and ProRes families offer a variety of codecs for different compressions, data rates and file sizes. Some with just enough image information needed for editing, others for high-quality color grading and finishing, and lossless ones for mastering and archiving. Below are the full list of codecs from both families. #customers { border-collapse: collapse; width: 100%; font-family: Nunito; } #customers td, #customers th { border: 1px solid #ddd; padding: 8px; font-family: Nunito; } #customers tr:nth-child(even){background-color: #f2f2f2;} #customers tr:hover {background-color: #ddd;} #customers th { padding-top: 12px; padding-bottom: 12px; text-align: left; background-color: #ad00ff; font-family: Nunito; color: white; } Codec Color sampling Usage DNxHR 444 4:4:4 Finishing DNxHR HQX 4:2:2 Finishing DNxHR HQ 4:2:2 Mezzanine* DNxHR SQ 4:2:2 SQ Editorial DNxHR LB 4:2:2 LQ Editorial ProRes 4444 XQ 4:4:4 Finishing ProRes 4444 4:4:4 Finishing ProRes 422 HQ 4:2:2 Mezzanine* ProRes 422 4:2:2 Mezzanine* ProRes 422 LT 4:2:2 SQ Editorial ProRes 422 Proxy 4:2:2 LQ Editorial * In this case, Mezzanine means a compressed file that can be used to produce additional compressed files, but it is not necessarily useful for finishing work. Codec facts: DNxHR 444, ProRes 4444 and ProRes 4444 QC are the only codecs with embedded alpha channels. DNxHR 444 and ProRes 4444 XQ are the only codecs that fully preserve the details needed in HDR- (high-dynamic-range) imagery. Both codec families are resolution independent, but bitrate will vary depending on if you output a proxy file or a higher resolution file. Both codec families can be wrapped inside MXF or MOV containers. For more detailed specifications: Full DNxHR codec list Full ProRes codec list Codec differences DNxHR and ProRes was optimized to be visually lossless through many generations of decoding and re-encoding. Some claim to have noticed performance differences, but studies have shown that the quality and speed differences are negligible. An important difference, however, is that some of the major editing and finishing systems available lacks support for ProRes encoding for Windows. This means Windows users can read a ProRes encoded file, but in some cases cannot export one. For this reason, many post-production facilites have abandoned ProRes and implemented a full DNxHR workflow. There are systems that Apple fully supports such as the Adobe programs, Nuke and Scratch, but DNxHR is accessible universally. Another important reason for the success of DNxHR is that Avid can read the files natively from its own MXF file structure. This eliminates the need to import clips and timeline rendering. Lowepost

T his is going back a few years. Back to telecine days. I was working with a company that just got the Sony Vialta telecine. We were kind of a test facility for it in Australia. The Vialta was a sprocket driven telecine, meaning it worked similar to a film camera. It literally moved the film via the sprocket holes frame by frame and took a single frame capture. Theoretically, it was a superior picture as there was less film weave and a cleaner scan. Anyway, things were going okay and we were getting nice pictures out of it, but only in 35mm. They hadn’t developed a 16mm gate yet. Then one day a 16mm gate arrived from Sony in Japan, so we put it to use the following day on a 16mm job. Back in those days, we would lace up the roll of 16mm (about 30 minutes of original neg) and we would grade every shot. Once we were done and happy, we would rewind the roll of film and press play and lay it out to tape. So that’s what we did this one day. We were working on a PSA for anti-drugs. The commerical was a great idea. Nice clean interview footage of some old people saying things like “Those teenagers are always high”, but cut to action footage of teenagers riding their BMX bikes and jumping in the air. You get the general idea. So we decided to grade the action footage first which just happened to be on the first reel of 16mm. Remember this only our 2nd day using the 16mm gate. I graded the whole reel, hit rewind and waited. When the Vialta rewound, the picture on the screen would be all vertically blurry as the film whizzed by, so I couldn’t really see anything. The film rewound and I went to line up the countdown leader at the beginning when I noticed some white vertical scratch marks that I didn’t remember seeing there before. I suddenly went white with fear. I went over to the telecine and saw scratch marks along the neg, and dust all over the machine. I then noticed that all the sprockets had ripped and now the machine could not play the film. I had just aggressively scratched 30 minutes of original negative. Not good. We quickly got Sony on the phone to help solve the problem, and it turns out there was a tolerance problem with the gate when the film ran over a splice. When I got to the end of the reel, the film had run into the tail leader. It had slipped out of the sprockets slightly and then of course, I had hit rewind. The machine had quickly rewound the film while scratching huge white marks in the neg and ripping the sprockets as it went. Now I feel I aged about 10 years that day, but here’s where I got lucky. In my whole career it had never happened to me. The directors were not phased. They had actually brought scalpels and pens with them to scratch the neg for a look. They wanted to lay off a clean version for safety, then lay off another one after we had scratched up the neg to make it look frantic. We just never did a clean pass. I threw up the film on another telecine and re-graded the footage. Luckily we hadn’t got to the interview footage yet. The commercial ended up winning awards. Eric Whipp