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Insider article Comments posted by Tom Evans
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On 2/5/2023 at 2:37 AM, Jonathan Rouzier said:
Does anyone know which would be the best fit if I am color managing in nodes with Davinci Wide Gamut as my working color space and outputting to Rec709 with a CST.
Jonathan, the LUTs have the transform built into them so there is no need for using a CST at the end. Just follow the steps in the post and use the LUT at the end.
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James, you do not need to pay for any Plugin / DCTL to set up your node tree exactly as in the examples, including the use of CSTs, ADX and Matrixes. If you want to use GradeLAB for subtractive grading it's totally up to you, but it got nothing to do with setting up your nodes for a film workflow.
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3 hours ago, James K Barbosa said:
It is a cool article that open possibility but a lot of questionnement, the fact that you show ethos using your ditch plugin is in both way nice and not, I would love to understand how to it without in case I don't have the plug-in near by on a remote computer.
Still this is really informative and I learn every time I pass by the platform
Ps: I still need to understand how to properly convert Slog3.cine to Arri Log c3.You don’t need plugins to do anything of the above, and to go from Slog to LogC3 you just apply a CST first thing in your node tree.
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Have any of you used the Baselight Slate panel with DaVinci Resolve?
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8 minutes ago, Jamie Neale said:
So the Cineon version is expecting R709/Cineon to output P3D65 G2.6?
Exactly, so you will have to transform your camera space to Cineon with a CST prior to the LUT.
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27 minutes ago, Jamie Neale said:
What colour space each of the Mitch Bogdanowiscz LUTs are expecting?
The name of each LUT states what it expects and what it returns.
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On 1/30/2022 at 10:45 PM, Gus Sánchez said:
I have a very similar setting, Mac Mini M1, DM 241, Blackmagic Ultra Studio 4K but my mac mini m1 does not help me much with large files, and it is painful to play these files in real time. Greetings.
I usually works with HQ files from ARRI / RED and that works perfectly fine on my setup. However, there are files such as those from Venice that lags without transcoding but that is also true on the much more expensive Mac Pro.
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You are right, this is a complete setup for most needs. Apple have rethinked how components work inside their machines, and the way DaVinci Resolve on my Mac M1 is performing at the moment makes it seem closer to 64gb. Even for Fusion work.
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This is an unbelivable line-up of colorists!
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Great guide, the mesh tracker looks fantastic!
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2 minutes ago, Marco Lau said:
Thanks for the affordable alternative 👌 sadly missing in array.
That's a very debatable panel and is missing on the list for good reasons.
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That's a clean nice looking suite!
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- Popular Post
I don't believe I just watched this... thank you Walter!
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On 12/20/2019 at 5:56 PM, nicolas horne said:
for an upcoming project, either the editor (premiere) or me will be receiving film scans of about half of the media. i have no control of neither timecode or clip names. i gave the producer the advice to let the editor swap out those files (and i would give her some tips on keeping the better quality). but what would be the proper or best way to deal with this if i had to do it in resolve? (i'm a colorist, not primarily a media juggler..)
Hi Nicolas. You would be better off asking these questions in the DaVinci Resolve forum.
Some tasks can't be automated and you need some information such as reel names, timecodes etc to have the system switch the correct clips for you. In a professional workflow the conform artist would be involved early in the process and generate the necessary metadata prior to the editing so that the clips can be switched without any issues.
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22 hours ago, John Parker said:
We have a free, fully functional trial available if you want to try it out for yourself
Cool, I will give it a try!
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Have anyone tried the grain in FilmConvert? Just as good as Cinegrain?
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37 minutes ago, Frits Jan Smit said:
Overlaying a clip to match instead off a reference clip...
Different techniques in different lessons. If you watch the offline reference lesson you see that he use the reference clip to overlay instead of stacking and blending the clip on the timeline.
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I love these insight articles, thank you Parker!
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Your taste in color is incredible, my absolute favorite colorist!
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By far the best review I've read in a while. Very interesting to read about the 'Flare' parameter. I have my ways to deal with backlighting and optical reactions but I'm looking forward to have a closer look at this.
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One of the reasons film looks better to the eye is because it naturally records fine details without heightening the contrast. Hard contrast adjustments on digital images will make up for the lack of detail, but at the same time give a false sense of sharpness. Understanding this is important to create the best looking images possible. Paul Ensby is the master of reproducing film characteristic curves and that is probably one of the reasons that his work is loved by so many.
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The "rosy" skin tones throughout the movie fits the atmosphere and mood perfect.
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Great spot and insight!
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Impressive work Walter!
Print Film Emulation Workflow
in Insights
Looks great Randy, but you can skip the four top nodes. The components are there to turn a technical transform curve into a film style curve. You do not need that because it’a built into the LUT at the end of your stack.