Daniel Rheaume

This was one of the most insightful and fun classes yet!

So many of the uncertainties about order of operations and workflow that I had were finally made clear in this course. Bravo!

Hope to see more like this, and I'm still very much interested in a course about show luts!  

10 hours ago, Amada Daro said:

It's well explained in lesson 6 & 8 in the Beauty Retouching course. 

 

Hey Amada! 

 Thanks for your reply and directing me to those Fusion lessons -

I had watched them before posting, but I still don't see how to recreate John's tool in Baselight.

He seems to have access to multiple frequencies that he can blur or sharpen locally. Following the lessons above, you either get the Resolve Beauty tool, which is a bit of a black box as far as what frequencies it's working on, etc...

The custom frequency separation tool he describes building in fusion also seems to basically only separate the frequencies into high and low, and then controls the re-combining of them. But I don't see any way to isolate frequency ranges as John's tool in Baselight does. Maybe I'm missing something?

Thanks again!

Loved this class!

I was definitely interested in how to achieve a similar effect to what John does with Baselight's Texture Equalizer tool in Resolve, as John mentions it is possible (albeit with a large node tree). I have seen tutorials online about frequency separation with resolve, but all seem to essentially break the frequencies into low/high, whereas John's tool seems to have many different frequencies he can isolate.

Is there anyone with knowledge to share on how to build a tool like this in Resolve/Fusion?

Many thanks again for this great course!

Hi Lowepost!

 I've loved this course and learned an incredible amount!

I do have one question regarding the lesson on grit and texture -

The instructor seems to be using a logC timeline color space for his projects, which I've embraced.

When he goes into detail about using the LAB color space on a node for sharpening, when I try on  my own footage I get an extreme highlight shift (gray blotchy highlights) from performing the LAB conversion. If I have my timeline colorspace set to rec709, I don't get these issues. What is the instructor doing differently, and why is it working for him?

Thanks!

Here is an example of what I'm seeing ....This is the ungraded log clip.

Here is the log footage with a single LAB conversion node, no adjustments.

Here is a version with an  r709 output display at end of node tree. No other nodes.

And here is the LAB conversion node with no adjustments and no other nodes, prior to the display output node.