Tom Evans

How do you do that in detail?

Same clip but with two different corrections. I want to stack them (blend them together) in the color tab.

What if this clip is a duplicated clip on the timeline and not a separate clip in the media pool?

LOL Thanks!

Is it possible to create a new clip out of the color corrected clip inside of DaVinci resolve, without rendering it? Probably a strange question but I want to stack different version of the same clip on top of each other on the timeline.

Do you know if I can use the blending modes to overlay an image inside the node three, or do I have to do that inside the edit tab?

That was the problem exactly, thank you. How do I change the reference clip timecode instead?

I have linked the offline reference clip to my timeline in Davinci Resolve, but the player window says Media Offline. Any idea why?

New York, Full time, Salary upon request Description of Role The Mill New York is looking for a Color Assistant to join the team. A Color Assistant acts as the right hand person to the Colorists and Color Producer and so they must develop a very close working relationship which is only possible if the Color Assistant has an innate understanding of the Senior Colorist’s technical and creative methods. Although an Assistant defaults to the Senior Colorist, the Assistant must also have the confidence and ability to deal with clients and their requests and to work on jobs without supervision. Assistants are not expected to have their own client base; they are expected to build one by developing and working in tandem with young and upcoming creative talent. Many of these are music videos, which allow a greater experimentation in creative and visual approach, allowing the assistant to apply the skills learnt whilst working with the Senior Colorist. The Colorists and Assistant Colorists must develop a highly developed sense of color imagery coupled with a strong creative and aesthetic sensibility and an in-depth knowledge of the whole post-production process including current technical specifications of film, video and data formats. They support the Colorists in communicating ideas to the Director and advise on the effects that can be achieved either in-camera or through the Color process whilst ensuring the final grade remains within the required technical specifications – if the grade is too dark, at the next stage of the post process the Flame Operator will be unable to add special effects or remove/add people and backgrounds. Once they have mastered the techniques and have found their own client base they can go on to become a Colorist. Requirements: Communicating with the Producer to ensure the correct film, data and video and the EDL relating to this material (Edit List) is delivered for each job Loading in the EDL, scanning the required film or importing video/data, conforming all the required material as per the EDL. Ensuring that the Colorists can work with the specified media. Ensure the right Gates are on the Scanner for the type of job being undertaken (e.g. for 35mm or 16mm film) and following grading Transferring the graded images to video-tape or exporting them as data on a hard-drive or any format the client requires Have an in-depth technical knowledge of the Scanner as they are responsible for its maintenance, fault-finding and repair. With reference to the Senior Colorist the assistant is also responsible for keeping the software up to date and ensuring they are proficient with this and any new hardware. Scanning negative to data using the Spirit 2K or Scannity Preparation of data for the Color Grading suite Export graded data from the Color Grading suites General assist duties for all Colorists and Producer Color correction on additional shots for completed projects Projects fully prepared in readiness for the Colorists session with clients Successful completion of tasks within the set timeframe and within 100% accuracy Projects assisted by the Color Assistant are delivered on budget and on time Required skills, knowledge and experience: The Color Assistant must have an understanding of the principles of film, video and data production At least three years as a junior in the post production industry They must be diligent and exhibit good attention to detail Previous experience of MCR operation is required and a knowledge of the principals of post production is expected. Photographic interest and experience desirable. A very solid understanding of operating systems and codecs is required. Flexibility and adaptability in working hours is expected https://careers.themill.com/job/9e81b114-133e-44f6-b411-144f38e18e86

A Color Assist works side by side with a Colorist and Color Producer. Developing a close working relationship with the Colorist and Producer is vital and only possible if the Color Assist has an intrinsic understanding of the Senior Colorist's technical and creative methods. Although an Assist reports to the Senior Colorist, they must also have the ability to work and communicate closely with the Color Producers, clients and VFX teams. The Colorists and Assist must establish a highly developed sense of color imagery coupled with a strong creative and aesthetic sensibility and an in-depth knowledge of the whole post-production process including current technical specifications of film, video and data formats. Responsibilities: Preparing suites for colorist arrival Ensure projects are fully prepared in readiness for sessions Conforming and QC edits for the days sessions Contacting editorial to resolve any issues Create postings for stills and viewing links Manage an always changing list of tasks for the day Facilitating any editorial changes and colorist needs throughout the session Performing a thorough QC of all projects before and after render Complete renders promptly after sessions as required in delivery specs RequirementsMPC is an award-winning global creative studio; we combine our talent, technology and craft to create memorable and distinctive experiences across a range of channels and platforms. We are always looking for talented individuals to help us push creative and technical boundaries.Qualifications Must be able to work in Baselight Maintain a positive attitude in high stress environments and work well under pressure Strong understanding of the post process and overall knowledge of production workflow, including VFX Must possess strong work ethic Highly motivated self starter and creative problem solver Excellent communication skills both written and verbal Punctual and highly detail oriented Critical thinking and have the ability to multitask and prioritize Able to work a flexible schedule with the availability to work overtime and some weekends Must know latest camera codec, color space, and file formatting specs Ability to read EDLs and flag issues In-depth knowledge of color grading workflow and techniques https://careers.technicolor.com/job/new-york/color-grading-assistant/3488/7070809

Thank you Miodrag, it solved everything! How does the ARRI META EXTRACT work?

It seems like VisionColor is the company that pushes both Osiris and Impulz LUT collections. Do you know anything about this company or their products?

Can somebody guide me to the most popular LUT collections out there?

I accidentaly deleted some power grades inside DaVinci Resolve. Any way to bring them back?

Can a LUT that is applied in the Alexa camera while shooting transfer to DaVinci Resolve automatically when it's not shot RAW but Apple ProRes 4444?

Comapany 3 LA need a color assist working night shifts. Need to know Davinci Resolve well. Contact howard.lin@bydeluxe.com.

RCO Color & Finishing is seeking a full time Junior Colorist to join the team. The Junior Colorist will work directly with our Senior Colorist as support for both features and commercials. You will also be provided the opportunity to work on lower budget projects to help build your experience and portfolio. Ideal candidate is someone who is looking to push their creative ability, eager to learn emerging technologies, and a natural problem solver. Qualifications Include: 1. 3+ years grading commercial and feature length projects. 2. Proficient use of DaVinci Resolve required, Linux familiarity and knowledge of conform and finishing. 3. Intimate knowledge of color science and post production processes. 4. Strong technical background - ability to troubleshoot render issues, etc. 5. Some experience supervising sessions and working within a team (Assist, Sr. Colorist, Producer, Compositor, etc.). Send Resume, Contact Information and Portfolio/Reel to marybess@rco.tv.

That is actually pretty clever as I can use the contrast + pivot to build the base, paste it on to a greyscale and copy it manually on to the curves. Thank you!

I really like to use the contrast + pivot tools with log images, but I feel like I loose some control as it doesn't visualize the curve the same way as if I had drawn it myself. It probably is a stupid questions, but is it possible to map the contrast + pivot tool corrections to the main luminance curve so that I can see and work further on the same curve with the traditional curve tool?

I'm experimenting with copying the gamma curve only on a film emulation LUT and to da that I need to get rid of the color bias in the original LUT. Is it a way I can disable the individual RGB curves so that I only see the y-only curve? Can you point me in the right direction?

I have applied a LUT to a greyscale and tries to read the data on a waveform but I'm a little confused. When I open the effect editor and tick Y only or YRGB I do only see the luminance curve and not the different components. When I click R,G and B only I see the different components. Is this normal behavour? I find it a bit strange that I can't see the components + y only together by ticking Y,R,G and B.

I must admit that when I heard the name the first time I thought it was a joke, but I see that the guys are working hard and that the project seems serious. Have you joined and for what reason?

Is it possible to export a Quick Time Same As Source from Avid Mediacomposer and an EDL for relinking in DaVinci Resolve or is an AAF the way to go? What is the recommended round-tripping to Avid from Resolve without relinking to other media than what is used in the project? I will use the MXF-files in the media folder, not the original RED files.

It seems like many features have their top highlight levels set quite low, is that a correct observation? I understand there are many considerations, but where on the IRE scale do you usually end up putting them?