Tom Evans

Congratulations to our great forum member @Andreas Brueckl for flat table!

This thread will answer your questions -

Resolve just relased a new beta (3) with some improvements. Improved H.264 performance for DaVinci Resolve Studio on Windows Addressed an issue with high CPU usage on Windows Added ability to select active face when using the Face Refinement plugin Improvements made to the Timeline Compare tool Added ability to resize the Project Manager window Added GPU-acceleration support for ResolveFX Dead Pixel Fixer Data Burn-In is now a floating window which is also available on the Edit Page Added support for gridlines in Warper plugin Added support for Crop Softness in Paste Attributes Improved ResolveFX tracker when using multiple tracking points Addressed an issue where some frames would get decoded at a lower resolution Addressed an issue where Face Refinement would not work in ACES and RCM Addressed an issue with Lightbox and Gallery layout changes not being saved Addressed an issue with grades applied with field processing enabled Addressed a crash when performing individual clip renders while preserving source directory levels Addressed a crash when decoding certain QuickTime ProRes files with a crop applied Addressed an issue where the rendered files would sometimes have blank audio Addressed an issue where render quality settings were not getting stored in presets Addressed an issue where creating render jobs would incorrectly fail with an invalid character error message Addressed an issue with rendering speeds when generating clips with audio Addressed an issue with decoding some Panasonic GH5 H.264 8-bit files on DaVinci Resolve Addressed an issue with some Title parameters not updating the viewer until the mouse is released Addressed an issue with Markers being displayed incorrectly in the Fairlight page Addressed an issue with incorrect timecode on some Panasonic camera QuickTime files Addressed an issue with core consistency check when exporting a Resolve AAF to Media Composer General performance and stability improvements

Everyone familiar with Avid can confirm that the software feels and acts almost identical to the way it did last decade. The same applies to Houdini and other software solutions that require as much manual control as possible. Working with the Avid developers for many years I've finally understood that user choice and modern design not necessary goes hand in hand.

COLORIST ASSISTANT Picture Shop Post Working closely with the Colorist, Editors, In-house Producers and surrounding staff to ensure client request are met. In-depth knowledge of the post-production process including Original Camera Master File deliveries from the client, digital video workflows, troubleshooting, and final file deliveries back to the Networks and or Studios. Primary Responsibilities Project setups for day of Color sessions Perform Color session renders according to work order specifications QC of the Color session renders and lay offs to tape Communication with Editorial, VFX, In-house Producers or Engineering to resolve any potential issues Suite or tape machine routing and tape machine setups as needed Experience Requirements: Two years experience as a Color Assistant Color Correction Platform knowledge of one or more of the following: Davinci Resolve, Baselight, Nucoda Basic knowledge of Avid, Flame, Cinedeck and Terminal Commands is a plus In-depth knowledge of Color grading workflows and techniques Technical ability in troubleshooting Color session projects Knowledge of various file formats, codecs, color space, and video legalities Ability to maintain a positive attitude while working in a fast paced environment Highly detailed, self starter, punctual and a strong work ethic is a must Excellent communication skills amongst staff and clients Flexible schedule at times with the availability to work overtime and some weekends Educational Requirements: Bachelor’s Degree preferred; advanced degree in Film is a plus; experience at a Post Production Company preferred. https://www.linkedin.com/jobs/view/...l_jobs_jymbii_digest;loR+vAbATc+efRQrxes8EQ==

This is the list og spots that actually won for color grading. COLOR GRADING - 90 SECONDS AND UNDER Toronto Maple Leafs Wise Man 00:60 Colorist: @Luke Morrison The Mill COLOR GRADING - MUSIC VIDEO Leaf (Ft. Lil Yachty) Nada 03:51 Colorist: Josh Bohoskey The Mill COLOR GRADING - OVER 90 SECONDS Squarespace John's Journey 2:50 Colorist: @Tom Poole Company 3

I'm pretty sure this is @Tom Poole's work, great artistry.

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

In my experience, the main difference is that the color correction tools can behave somewhat different because of the dynamic range of animated images. It could take some time to get used to if you're sensitive to how the image react to every little adjustment. That said, fine control of separations could be less complex as you often have limited access to alpha mattes from the VFX dep.

FIveOne Color is proposing an internship position (production) with possibility of job. Contact: contact@fiveonecolor.com Fiveonecolor is a new company of color grading running in a BASELIGHT system in Soho lead by ALINE SINQUIN, french senior colorist since 17 years, who has worked at MPC and the Mill.

That makes sense! I've never attributed value to my dongles, only thought of them as burdens taking up extra USB ports.

Any reason why they should continue providing dongles?

You're definitely safe with that choice, it reads all content except Dolby Vision and the reviews are great. A bit pricy.

I totally agree, hopefully they plan on using the knowledge has gained through studying the code to implement some compositing features in the future.

The entire list: What's new in DaVinci Resolve 14 Collaboration • All new collaboration workflow which allows multiple users to work on the same project at the same time • Added ability for collaborating video/audio editors and colorists to work on the same timeline at the same time • Resolve Collaboration supports any shared storage technology and works with a PostgreSQL shared database server • Support for live saving all collaborator actions in a collaborative project • Support for Project Manager indicators to show collaborative projects • Ability for collaborators to pick a profile on their shared projects • First come first serve write access for Media Pool Bins with read access for everyone else • Live Media Pool side bar bin updates including user locks and refresh available indicators • Timeline indicators to show user locks and refresh available • Live update of Color Page thumbnail icons to indicate user locks and refresh available • Live sharing of Color Page still galleries • New compare timeline tool to simplify merging timelines from multiple collaborative users * • Live group chat feature on collaborative projects Improved Performance, Fluidity And Usability All new image processing engine with numerous performance improvements and optimizations • New image processing engine which maximizes single and multi-GPU utilization • Support for GPU processing using Metal on Mac • New optimized performance mode for improved playback • New dynamic memory manager for optimized CPU memory usage • Improved performance on single GPU laptops and workstations • Improved editing and playhead fluidity on the Edit page timeline • Dramatically improved latency of JKL playback • Improved Color Page playback start/stop latency • Improved Multicam playback performance • Improved pan and zoom on viewers when using the trackpad with support for an Alt/Option modifier • Improved performance when scrubbing H.264 and similar codecs • Support for improved CPU usage All new database engine for improved management and performance on PostgreSQL and DiskDB • Support for a new live save option where changes are saved as you work • Support for incremental fast saves in the new and improved DiskDB • Ability to save, load, update and delete user UI layout presets Improved media access and performance • Improved H.264 encode and decode performance • Improved performance for file listing in Media Storage • Improved scrolling performance in Media Storage folders and Media Pool bins with many clips • Improved speed of importing AAF timelines • Improve speed of Optimized media generation, transcoding and fusion rendering • Support for Optimized Media in 3D stereoscopic clips • Support of high frame rate timelines up to 120 frames per second - DaVinci Resolve Studio only • Support for up to 16Kx16K source images and timeline resolution • Ability to drag a file or folder from Finder/Explorer to Media Storage in order to navigate there Audio • New Fairlight audio processing engine for all audio in Resolve • New Fairlight page with dedicated audio editing, mixing, finishing and mastering controls • Support for unlimited audio tracks, 8 main, sub and aux outputs • Support for Fairlight Audio Accelerator and I/O hardware • Support for Fairlight free standing and desktop consoles • Single and dual monitor UI configurations on the Fairlight page • Fairlight page includes Media Pool, timeline, metering, mixer, effects, video preview, timeline index and inspector Key features • Six band EQ for every track • Expander/Gate, Compressor and Limiter Dynamics for every track • 2D and 3D Pan control for sound placement * • Timeline toolbar includes a pointer and a marquee tool, automation state, snapping, flags, markers and timeline options • Automation includes trim state, touch, latch or off mode, event selection • Support for separate enables for fader, mute, pan, EQ, compressor, Gate, Aux, Limiter and Plugins Monitoring and metering features • Level meters for all channels, Masters, Subs, Aux and groups • Monitoring of main outputs available in mono, stereo5.1, Atmos, Auro, DTS, IMAX and multichannel up to 22.2 • Compound metering includes speaker group selection, phase and loudness with integration control • Video preview available as docked or popup viewer with SDI video output Timeline features • Track sidebar includes controls for gain, automation, lock, solo, mute and record • Track sidebar includes indicators for track number, name, color, linked track and meters • Timeline clips include user selectable indicators for clip name, gain, FX, group, EQ, Source, Speed, Linked status, stem/channel bit depth, sample rate and source channel • Timeline clips include full or rectified audio waveform with waveform border, gain level, fade handles and automation keyframe control • User selection of timecode display with subframes and samples, feet and frames or only samples • Five preset and custom user selectable track height with locks • New timeline index shows tracks and markers UI dialogs for setup and assignment • Each mixer track includes input selection, effects, insert, EQ and dynamics graphs, output selection, aux, pan, main and submix selections • Mixer also includes track name and color, grouping, record, mute and solo selection and gain fader with meters General audio improvements • New audio processing engine includes support for 192 KHz 24bit audio • Support for pitch correction when performing speed changes on all platforms • Support for pitch correction during FFW and FRW playback on the Edit page timeline Edit Key new features • Support for track colors on the timeline • Support for dragging just video or audio from the source viewer • Support for a toggle to switch between single viewer and dual viewer mode • Support of OFX plugins as filters in Timeline • Ability to drag and drop a transition from one clip to another • Redesigned Effects Library for easier navigation and search • Support for improved "Play Around" functionality with contextual behavior depending on selection • Support for Blur Dissolve transition • Support for audio waveforms on Multicam Clips, Compound Clips and Timeline Clips • Support for alpha rendering from source when using Fusion Connect Clip adjustment improvements • Ability to "Remove Attributes" from one or multiple clips • New menu option to freeze frame the current frame under the playhead • Ability to select all keyframes in Keyframe and Curve editor using Ctrl/Command+A • Ability to linearize/smoothen curves for multiple selected keyframes in the Keyframe and Curve editor Clip trim improvements • Ability to Alt/Option+Shift drag to resize a clip’s In or Out point over an adjacent clip to automatically create a transition • Ability to Alt/Option+Shift drag a clip from the Media Pool to overlap a clip in the timeline to add a transition • Support for two new trim commands in the Trim menu ⁃ Slip Playhead to In ⁃ Slip Playhead to Out • Support for slip functionality when performing an Extend Edit • Ability to duplicate and superimpose dragging selected clips from a track while holding down Alt/Option + Shift • Support for snapping when dragging and placing text elements in a Title in the Timeline viewer • Support for improved snapping when performing ripple edits • Ability to perform playback using JKL in Dynamic Trim Mode when no clip or edit point is selected Conform improvements • Support for user selectable conform criteria when performing "Reconform from Bins" • Ability to "Reconform from Media Storage folders" for a Timeline • Support for missing on disk indicators and missing in Media Pool indicators in the Timeline • Support for importing 3D Warp Pitch and Yaw parameters in AAF from Avid Media Composer • Support for the following Index filtering options ⁃ Show Clip Color ⁃ Show Clips with Composite Effects ⁃ Show Clips with Transform Effects ⁃ Show Clips with Filters ⁃ Show Clips with Speed Effects ⁃ Show Fusion Connect Clips ⁃ Show Compound Clips and Nested Timelines ⁃ Show Clip conflicts ⁃ Show Flags of a particular color ⁃ Show Markers of a particular color ⁃ Show Stills and Freeze Frames • Ability to see conflicts in the Index Match column • New Position Lock on toolbar to lock ripple on tracks and timelines for Online Editing • Project setting to enable/disable automatically Conform when adding clips to Media Pool • Ability to set default number tracks and types in Project Settings > Editing > New Timeline Settings Marker improvements • Ability to display Marker names and notes as viewer overlays • Ability to list clip markers in Media Pool list view • Ability to convert an In and Out point selection into a duration marker • Ability to navigate between markers from the option menu in the viewers • Ability to search and filter in the Index using Marker Name and Marker Notes fields • Ability to multi select timeline markers using a marquee Media Pool improvements • Support multiple Media Pool windows either as a 2-up/4-up docked view or as new pop-up windows • Ability to hover over Media Pool thumbnails to mark in and out • Ability to "Rediscover Optimized Media" in the Media Pool • Ability to "Unlink Selected Clips" in the Media Pool • Support for missing on disk indicators in the Media Pool for both the thumbnail and list view • Support for Smart Bin and Smart Filtering based on Display Name • Ability to Create Bin With Selected Clips • Ability to create Smart Bin filters using Marker Name and Marker Notes • Ability to search in the Media Pool using Marker Name and Marker Notes fields • Ability to perform comma separated text matches in Media Pool search, Smart Bins and Smart Filters • Ability to add/remove items from current selection with keyboard modifiers (Ctrl/Command, Shift and Alt/Option) • Ability to Alt/Option drag clips in the Media Pool to duplicate them and put them in another bin General improvements • Previous/Next clip now ignores selection when the selected clip is not visible • Support for a "Playback post-roll" option in the Timeline menu • Ability to drag video only or audio only from the timeline to the Media Pool • Support for retaining playhead position and in and out positions when swapping timelines • Ability to drag a OpenFX/ResolveFX filter onto one or multiple selected clips • Support for selecting resize algorithm per clip in the Inspector • Support for a progress bar when applying Lens Correction • Support for 100% levels in EBU Color Bar generator • Ability to search “All Fields" when applying a search filter in the Index • Support for toggling "Show Reference Wipe" is now available on the Edit page • Ability to Alt/Option click only the audio or video to override a linked clip selection Color ResolveFX improvements • ResolveFX plugins are now sorted into logical groups of effects • Support for starred favorites for OpenFX is not available on the Color page • Ability to paste tracking data between the FX tracker and the Power Window tracker • Improved ResolveFX Lens Flare • Support for Gamut Mapping from Timeline to Output Color Space in Resolve Color Management • Support for Gamut Mapping in the ResolveFX Color Space Transform plugin New ResolveFX Plugins • ResolveFX Face Refinement - DaVinci Resolve Studio only • ResolveFX Warper - DaVinci Resolve Studio only • ResolveFX Match Move - DaVinci Resolve Studio only • ResolveFX Color Stabilizer - DaVinci Resolve Studio only • ResolveFX Timelapse Deflicker - DaVinci Resolve Studio only • ResolveFX Contrast Pop - DaVinci Resolve Studio only • ResolveFX Color Compressor • ResolveFX Abstraction • ResolveFX Watercolor • ResolveFX Lens Distortion • ResolveFX Gamut Mapping • ResolveFX Dead Pixel Fixer • ResolveFX Alpha Matte Shrink and Grow • ResolveFX Color Palette • ResolveFX Dehaze • ResolveFX Sharpen • ResolveFX Sharpen Edges • ResolveFX Soft Sharpen Skin • ResolveFX Camera Shake • ResolveFX Deband • ResolveFX Grid General improvements • Support for a new advanced Stabilizer in the Tracker palette • Ability to add and control favorite ResolveFX and OpenFX plugins under Modes from the DaVinci Resolve Advanced Panel * • Support for improved jog and shuttle control on DaVinci Resolve Advanced Panel • Ability to toggle LightBox SDI output from the DaVinci Resolve Advanced Panel using Shift Down + CONFORM • Ability to toggle full screen LightBox from the DaVinci Resolve Advanced Panel using Shift Up + CONFORM • Ability to press and hold Reset on the DaVinci Resolve Micro and Mini panels to reset the node graph • Ability to press and hold Previous/Next Frame on the DaVinci Resolve Micro and Mini panels to jump to the beginning/end of the clip • Ability to press play/reverse repeatedly on the DaVinci Resolve Micro and Mini panels to increase playback speed • Ability to set the LCD brightness of the DaVinci Resolve Mini panel using LCD brightness in Control Panel settings • Ability to set the key backlighting of the DaVinci Resolve Micro and Mini panels in Control Panel settings • Ability to remember Bars vs. Wheels when switching to Primary from a Control Panel • Improved various knob and parameter sensitivities on the DaVinci Resolve Micro and Mini panels • Support for the Common LUT Format (CLF) with examples - DaVinci Resolve Studio only • Support for scopes as an overlay on the Cinema viewer • Support for new commands and shortcuts to move selected keyframes • Selection of multiple keyframes no longer needs a modifier key • Support for track color on Color page timeline • Support for plugin name on FX nodes • Support for full height OpenFX inspector in full screen mode • Ability to set default number of neighboring clips for Split Screen in Project Settings > Color • Support for Clip Color indicators in the Color page Timeline • Support for adding any Media Pool clip as a matte to the current clip on the Color page • Improved support for ACES v1.0.3 • Support for ACEScc, ACEScct and ACEScg color spaces in Resolve Color Management • Support for ACEScc, ACEScct and ACEScg color spaces in the ResolveFX Color Space Transform plugin • Support for ACEScc, ACEScct and ACEScg IDTs and ODTs when using ACES • Support for clip output render caching from pre and post group node graph • Support for showing picker RGB values in 8 bit or 10 bit available in the View menu • Ability to to toggle the viewer overlay mode on/off using Shift + ` • Support for Ctrl/Command and Ctrl/Command+Shift for half and quarter increments in Printer Lights Hotkeys Media • Support for user selectable checksum methods in Clone Tool option menu • Ability to unmount drives from Media Storage on Mac and Windows • Ability to set custom whole number frame rates from 1 to 120 fps in Clip Attributes • Support for option to import ARRIRAW clips at the Open Gate resolution in Project Settings > CameraRAW > ARRI • Support for automatically cropping ARRI Quicktime clips to show only the active area of the sensor • Support for latest EasyDCP library • Support for decoding Nikon RAW files • Support for MultiPart OpenEXR • Support for Constant and Variable bitrate in Quicktime ProRes and DNxHR codecs • Support for H.264 multi-pass encoding on Mac • Support for decoding H.264 Intra 422 10bit - DaVinci Resolve Studio only • Support for encoding to the MP4 format • Support for decoding High 10 Profile H.264 files on DaVinci Resolve Studio • Support for encoding VP9 profiles with higher bit-depth • Support for Network Optimization option on Quicktime renders • Support for 10b and 12b encoding options for DNxHR HQX and DNxHR 444 General • Support for an improved Project Manager with an integrated Database manager • Ability to copy and paste one or multiple projects between databases • Ability to sort list of databases in Database manager • Support for a new Bicubic resizing filter option • User settings such as layout preferences are now saved locally on the machine • Ability to drag a bin into another bin in the Media Pool right hand side view • Support for a smaller page switcher on smaller screens • Ability to type in Project Manager and browse dialogs to automatically navigate to and highlight matches • Support for searching for shortcuts by command name or shortcut in Project Settings > Keyboard Mapping • Support for displaying conflicts when assigning shortcuts in Project Settings > Keyboard Mapping • Tags now support non-text parameters such as Timecode, Dates, Numbers and Resolutions • Support for undo/redo history available in the Edit menu • Support for an option to stop playback when frames are dropped on the SDI output • Support for remembering the last open page across multiple sessions Pre-installation Notes • CUDA is only supported on NVIDIA GPUs with compute capability 3.0 or higher (Kepler architecture or newer) • Automation of clip audio effects is no longer supported • Audio clip mixer is no longer supported • Support for AU plugins is not currently available • Support for audio playback and render of nested compound clips and timelines is not currently available • Support for output audio channel assignment is not currently available • Support for DaVinci ACES has been removed • Support for older versions of ACES has been removed • Support for render cache is not currently available in Collaboration • Support for the Login page and Resolve users has been deprecated • Dual machine servers are no longer supported on Linux

Noise reduction that introduce banding, and sound editing? Jiiizes.

This is what Filmlight is showing at NAB

Our company started out storing the final masters on Sony XDCam disks, but due to lack of space we moved on to LTO storage. Now that Dropbox offer unlimited storage and let you browse the folder content without syncing (downloading locally) I think that could be the way to go. What storage solution are you using?

https://techcrunch.com/2017/04/04/apple-pushes-the-reset-button-on-the-mac-pro/

Every colorist should use a calibrated monitor and tell their clients that the master file will look different on every screen and device it will be exposed on.

Hi @Andu Radu Nothing adavanced here, I'm on a z820 with 4x internal 6TB disks and a connected LTO drive for long time mastering. Works like a sharm.

How does that work? I'm used to render out MXF files directly to the Avid Mediafiles/MXF/X folders and move the database files into the bin.

Is Apple out of the game? My impression is that most professionals have opened their eyes for the other systems lately.