Tom Evans

Hi Lee. I know I can do it with the Planar Transform, but the questions is if I can output the screen only with my setup that is not using the Planar Transform. Using the planar transform method isn't a good method to do planar tracking inside of Resolve I think because you will have to deal with differences in resolution in your source clips and the graphics.

I have done a planar track and want to judge the result. The red corner pin lines are distractive, is it possible to turn them off?

I have done a screen replacement and fed the screen graphics straight into the planar tracker. So, the node three looks has the phone fed into the background of the planar tracker, the graphics fed into the foreground of the planar tracker, and the planar tracker itself is fed into the media out node. With this setup, how can I output ONLY the screen graphic to the color tab? As I see it, the planar tracker works as a "merge" in this case so I don't understand how to output only the graphics.
 

I want to create a typical sale bubble on a commercial and wipe it in with a page curl effect that throws shadows. How would you do that in DaVinci Resolve?

In After Effects I would normally add a solid, shape the bubble with a circle mask and add the page curl effect.

have to go into Fusion to that right? I can't add masks in the edit module to the solid color effect? And how would you solve the curling? 

I'm trying to solve more of my graphic and finishing tasks in Resolve these days as it saves a lot of time. 

Is it possible to hide clips from the Lightbox in DaVinci Resolve? I have a bunch og visual effects that is very distracting when evaluating the overall color palette in the Lightbox.

I have some effects done on an adjustment layer in Resolve that I want to copy and re-use in an another project Blur, zooms and things like that. What is the best way to "save" them and move them over?

Could it be Catalina? It doesn't work on my end either. 

Nothing else than a proper grading montor will be accurate. You could calibrate consumer screens but they will not be accurate, it's that easy. Contact Flanders and Eizo and ask if they have some small monitors that they want to get rid of cheap for any reason. 

Or use the wheels or any of the other tools to increase the colors.

Yeah, increasing the strength of the source color will force it through. 

Take Game of Thrones as an example, I talked to Joe and he does the same thing.  You don't have time for special treatment of the skin tones on every actor when you have a time schedule so you need to make the base sit nicely and pipe in whatever is missing to create the color balance you want the fastest way you can. By using this simple technique you also not need to worry about bad spill from keys and other artefacts. 

In my opinion, the best way to blend back some of the source color is to pipe it back into the new look you have created with a parallel node just the way it's done in the professional color grading series here on Lowepost. In a cold blue look the skin should be cold, it just needs some of its natural skin tone to blend through the coolness and that's best done by mixing it back in. You could always finesse the skin by adding whatever secondary you want, but in 99% of the cases you don't need too.

You should try to get your skin tones right in your balance pass. Try to balance for the skin tones and you probably find that the environment falls into place. If you still need to tweek you can use hue shifts, or go to keys. When going extreme you can pipe the colors back from the source through a parallel node.

Looks like my DaVinci Resolve database is disconnected somehow. Any folder path or typical location for these? Do I go the restore route to connect it back in?

57 minutes ago, Shawn Convey said:

Not sure if this is any better but this guy Warren Eagle has some decent looking courses at FXPHD 

Some years ago I worked as an assistant in on of the Deluxe facilities in LA for a short period and I feel the fundamental techniques in the Lowepost professional course really represent how those colorists approached their shots from the ground up, and the theory is good too. You can do whatever is expected on a really high level the day you master those techniques and have trained your eyes to see what looks good. 

I paid for the bundle over at FXPHD to see if I have missed something useful and I have never been so disappointed. Someone should take their license for marketing their courses as secret / insider techniques, it's simply a scam.  Nothing inside-ish about what that guy teach at all, and it's super pricey. Warren got experience with many indie films, seems like a great guy and knows the buttons very well, no doubt about that, but look at his reel. You don't want that guy to teach you how to create nice images. And he certainly doesn't.  Sorry, but it's seriously bad. 

FXPHD is a place for quality courses and I love them,  but the Warren Eagle lessons doesn't belong there. I know many experienced colorists feel the same way, but keep it to themselves as Warren is a big contributor to the colorist society by arranging events and things like that.

I also watched Warrens beginner lessons even though I don't see myself as a beginner anymore and I would advice any newbie to stay away from them because it's important to develop good work habits and workflows from day one, or you will for sure struggle later in your career.

Start by importing your DPX files back into Resolve and see if you can spot any differences. If not, the problem is on the VFX guys end.

Yeah that's definitely a job for Red Giants Trapcode.

Don't think there is any lum vs. lum curve in Resolve?

I just got access to a laptop with the following specs, is that good enough to run Avid and Premiere? 

3,1 GHz 512 GB, 4 GB VRAM (2017)

@Mazze

Only vectorized graphics (AI/EPS etc) has unlimited scaling possibilities without compromising quality.

If you apply a rasterized graphic element from let's say Photoshop at 100% scale it will look pixelated when it's scaled above its full resolution. That is typically an issue if you apply it at 100% scale on a 1920x1080 timeline and then re-adjust its scale on a new 4k timeline.

Hopefully the light stays consistent throughout the spot. I would start with contrast and exposure and add dynamics to keep it consistent. Then do a color pass on top of that. By using offset controls you adjust the whole picture and doesn't have to think about that it might break into some strange color behaviour when going between rooms or in and out of different lighting conditions. 

Can someone please walk me through the process of creating a camera LUT inside of DaVinci Resolve? Can the most common high-end cameras such as RED/ALEXA read Cube files? Anything I should think about when creating a LUT for this purpose?

It works fine on my end too.

DaVinci Resolve 16 Studio beta 6 and Fusion 16 Studio beta 6 are now available on our support web site.https://www.blackmagicdesign.com/support/family/davinci-resolve-and-fusion


This is a no charge update for all DaVinci Resolve Studio and Fusion Studio customers.

For users moving from v15, please back up your database, make drp's of your active projects and restore the DB in preparation for the version upgrade as you can not go back to v15 with a v16 DB.


DaVinci Resolve 16b6 readme
 

• Support for Fairlight consoles on macOS
• Improved naming behavior for synced audio clips when round-tripping to Pro Tools
• Addressed an issue where the primary display would not be persisted for dual screen layouts between application restarts
• Addressed an issue where trimming or scrubbing audio in source tape mode would show audio waveforms with incorrect zoom in the Cut page
• Addressed an issue where playing certain Text+ titles after changing timeline resolution to 8K would sometimes cause a crash
• Addressed an issue where viewing multiple MaskPaint tools in the Fusion page would cause a crash
• Addressed an issue where enabling or disabling compound nodes would not work correctly
• Addressed an issue where Lightbox previews would show incorrectly sized thumbnails on the monitoring output
• Addressed an issue where clips with opacity would sometimes show incorrect levels when in stop mode on ACES projects
• Addressed an issue where command/control-dragging a grade from a still would sometimes create a compound node with no inputs
• Addressed an issue where transition levels would sometimes be incorrect in Resolve Color Management projects
• Addressed an issue where FLAC audio clips would sometimes have incorrect waveforms
• Addressed an issue where the Bus Format dialog would not show 3D immersive sound formats for new projects
• Addressed an issue where the Fairlight monitor source selection options would not show external monitor sources
• Addressed an issue where some AAF files with embedded content would sometimes be imported incorrectly
  • Note: Users working on projects with embedded content AAF files are requested to re-import the AAF in order to see the changes
• Addressed an issue where capturing Quicktime clips from video tape recorders would not capture the audio correctly
• Addressed an issue where the video monitoring format in a newly created database would incorrectly default to PAL
• General performance and stability improvements

Fusion 16 beta6 readme

• Addressed an issue where some tools would show errors on Linux systems when using CUDA GPU processing mode
• Addressed an issue where mouse pan and zoom would fail to work correctly in bin playback
• General performance and stability improvements