Tom Evans

Where can I find "Render cache clip source" in Davinci Resolve? It used to be available when I right clicked on a clip but now it's not there anymore.

I want a zoom to affect a group of clips, can that be done i DaVinci Resolve? The same was a an adjusment layer in After Effects works.

I love these insight articles, thank you Parker!

Your taste in color is incredible, my absolute favorite colorist!

Your taste in color is incredible, my absolute favorite colorist!

It's frustrating that the developers can't sit down with each other and find a solution for issues like this. Luckily speed ramps aren't that difficult to match.

Thank you for the detailed overview Bruno, I will start to dig into every aspect of Fusion now that it is so accessible. It's unstable on my system as well, it might be more solid on a Mac though...

Now that Fusion is integrated into Davinci Resolve it would be great to see some basic tutorials to get started?

When I add more clips to the media pool, the conformed sequence doesn't update. Then I select the media offline clip on my timeline and use the conform lock feature. The clip attach itself as it should but as a still frame only. What am I doing wrong?

Todays colorists are moving more agains being finishing artists and it's demanded that they can do basic compositing tasks in their tool. Baselight and Mistika are there already.

When I get AAF's from Avid, I sometimes have issues with that timewarps / speed ramps isn't transferred correctly. Have you experienced the same?

That explains everything, thanks @Jussi Rovanperä. Any blending mode I can use to replace black in this instance?

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 REQUIREMENTS MPC 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 Color Grading Assistant https://www.glassdoor.com/partner/jobListing.htm?pos=101&ao=4120&s=230&guid=0000016283645ad6b81ae27278b7dd3a&src=GD_JOB_AD&t=SR&extid=1&exst=EOL&ist=&ast=EOL&slr=true&rtp=0&cs=1_23a9c93f&cb=1522622815181&jobListingId=2653237972&ugo=cf805df5-0251-481e-b5bb-0b7363697602

Company Description MPC 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. Job Description 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 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 Additional Information All your information will be kept confidential according to EEO guidelines. https://jobs.smartrecruiters.com/MPC/743999665567982-color-grading-assistant

https://youtu.be/-Gsl3CylbOc

I have tried to swap the inputs around but unfortunately with no luck. In this setup the layer mixer is set to lighten and what I expect to see is that the blacks from the top node should be replaced with yellow.

Yes. Both nodes are linked to a node with black shadows + greens.

The Look London need a post producer: https://www.linkedin.com/jobs2/view/592118939

Top node: Black shadows + green image Bottom node: Pink color Both are going through a layer mixer and the mode is set to lighten. Shouldn't the black shadows in the top node be replaced with pink?

I have a single toned image (black shadows + green) that I layer mix with a pink color that I have choosen from the color generator. When I now choose to blend these to layers together with the lighten mode, shouldn't that pink color replace the black shadows of the image? Nothing happens so I wonder if I have encountered a bug.

I got some footage that are shot on Alexa in raw anamorphic. For some reason they have the Sony MXF typing in the browser and inside Davinci Resolve they have the *.wav extention. Any idea what is wrong? The only software I have managed to open the files in are Scratch Play and yes they are not wav files but video files.

I have seen that video but would like some more in depth information.

Can someone explain how to use gamut mapping and tone mapping correct in Davinci Resolve inside the Color Space Transform plugin? Are they necessary to do correct transforms and why aren't they set ON as default?

I have started to look at the Davinci Resolve color management, and it looks promising. But I have noticed that setting the input color space to Alexa Log C for my source footage or applying a Alexa log to rec709 LUT actually yields quite different results. What is the reason for that? A mathematical reason I guess, but why isn't the input color space option set up to mirror the Alexa Log to Rec709 LUT perfectly as that is what is provided by the camera manufacturer? I mean, they provided this LUT because they want footage shot on Alexa to be transformed that way right?