Justinian Buckley

Thanks Lynette for the clear insight into trailer grading. The importance of: Workflow, using the right tools for the job and working with clients can be applied to all forms of colour grading.

Great, insights, especially about the reality of time management and the number of shots he physically has to get through an hour. As he says anyone can colour but getting through 700 shots is another thing.

Re an ACES Workflow is this how the node tree should look, with reference to Lesson 3. First node Printer lights / Contrast flatten/ LoG Shadows / The last node being a Gamut Mapping OFX (REC 709 / Tone Map simple / Saturation compression)

Great insights, it would be good also to see an ACES workflow without using the Arri LUT.

This is the course I've been waiting for, thanks Lowepost

Thanks Hendrick for the reply, So this is one for the Blackmagic engineers to sort out.

Hi there, I've been using this method below for NR in normal and Davinci colour managed projects: https://www.provideocoalition.com/solutions-to-resolve-part-1-precise-sharpening-and-noise-reduction/ But when in ACES using the key A/B mode all you get is a white screen? Is this just a consequence of The ACES workflow or a bug in Resolve?