Stig Olsen

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About Stig Olsen

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  • Birthday 01/31/1984

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    www.lowepost.com

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  1. Hi James. The tools are distributed under the same type of model as Dolby distributes "Dolby Digital"; they sell licenses directly to the studios and networks. It's only available to certified post production facilites, and consists of both a software and a hardware part.
  2. We continue our DaVinci Resolve training with a new high-end course in Color Management Workflow. This is an intermediate course for colorists and visual effects artists taught by our instructor Lee Lanier. In this training series you will learn to work with both display-referred and scene-referred management including ACES, matching camera profiles with color space transforms and DCTLs, how to set up your projects for multiple color space outputs, everything about RED IPP2 and RAW workflow, how to use the Gamut tool, LUTs, CSTs and OpenColorIO in Fusion, and much more. The DaVinci Resolve project files and footage are available for download so that you can easily follow along. Download project files The DCTL that comes with the project files is created with a tool called Resolve Math Extra (OFX) developed by Paul Dore. It can be downloaded from this site. About the instructor Lee Lanier has created visual effects on numerous features films for Walt Disney Studios and PDI/DreamWorks. Lee is a world-renowned expert in the video effects field, and has written several popular high-end software books, and taught at the Gnomon School of Visual Effects in Hollywood. Who is this course designed for? Colorists Visual effects artists Lessons overview Lesson 01: Color spaces, color models, and bit-depths Lesson 02: Display-referred vs. Scene-referred management Lesson 03: Display-referred workflow - Using LUTs Lesson 04: Display-referred workflow - Matching cameras with DCTLs Lesson 05: Display-referred workflow - Matching cameras with Color Space transforms Lesson 06: Display-referred workflow in Fusion Lesson 07: Resolve color management (RCM) workflow Lesson 08: ACES color management set-up Lesson 09: RCM and ACES inside Fusion Lesson 10 Adding Color Space Transforms in Fusion Lesson 11: Adding LUTs, DTCLs, and using OpenColorIO Software required A free version of DaVinci Resolve or DaVinci Resolve studio
  3. In this is course you will learn how to create creative looks inside of DaVinci Resolve! This is a work-in-progress course that we intend to add new lessons to in between our regular courses. We don't have a time estimate, but new lessons will be announced in our forums and Facebook group. Who is this course designed for? Colorists Lessons overview Lesson 01: Bleach Bypass Lesson 02: The Spotify Look Lesson 03: TBA Lesson 04: TBA Lesson 05: TBA Lesson 06: TBA Lesson 07: TBA Lesson 08: TBA Lesson 09: TBA Lesson 10: TBA Software required A free version of DaVinci Resolve or DaVinci Resolve Studio.
  4. You can add a TimeSpeed tool from the Miscellaneous menu and set the speed value to zero.
  5. Fusion doesn't recognize layer stacking in the edit module so it will not automatically fill the transparent area with the bottom layer clip. Instead, you can mark both clips in the edit module, right click and create a "Fusion clip" to bring both of them in.
  6. We are proud to introduce Introduction to Visual Effects in DaVinci Resolve. A a new high-end DaVinci Resolve Fusion training series, designed for finishing artists with instructor Lee Lanier! With 36 easy-to-follow video lessons, you will learn about everything you need to know to solve the most common finishing and visual effects tasks inside of DaVinci Resolve. You will learn screen replacement, chroma keying, rotoscoping, masking for color grading, 3D, advanced 2D- and 3D-tracking, painting and cloning, warping, morphing, how to create light effects and much more. In addition, Lee will walk you through the basics so that even beginners that have never used DaVinci Resolve can follow. The DaVinci Resolve project files and footage are available for download so that you can easily follow along. Download project files About the instructor Lee Lanier has created visual effects on numerous features films for Walt Disney Studios and PDI/DreamWorks. Lee is a world-renowned expert in the video effects field, and has written several popular high-end software books, and taught at the Gnomon School of Visual Effects in Hollywood. Who is this course designed for? Finishing artists Visual effects artists Colorists Lessons overview Lesson 01: Introduction Lesson 02: Resolve Fusion integration Lesson 03: Importing and interpreting footage Lesson 04: Constructing tool networks Lesson 05: Playing back Lesson 06: Using multiple clips and rendering Lesson 07: Adding and adjusting tools Lesson 08: Overview of tool types Lesson 09: Creating light effects Lesson 10 Applying film and video effects Lesson 11: Working with colorspace Lesson 12: Merging inputs Lesson 13: Domains and transforming Lesson 14: Keyframing Lesson 15: Editing animation curves Lesson 16: Masking Lesson 17: Rotoscoping Lesson 18: Masking for color grading Lesson 19: 2D motion tracking Lesson 20: Stabilizing and tracking a mask Lesson 21: Corner pin tracking Lesson 22: 3D camera tracking Lesson 23: Chroma keying Lesson 24: Adjusting chroma keys Lesson 25: Working with channels Lesson 26: Creating luma masks Lesson 27: Combining keying and rotoscoping Lesson 28: Applying paint tools Lesson 29: Paint fixing with clone brushes Lesson 30: Animating paint strokes Lesson 31: Warping and morping Lesson 32: Introduction to 3D space Lesson 33: Working with 3D materials and lights Lesson 34: Grouping and adding macros Lesson 35: Adding shortcuts and panels Lesson 36: Wrap-up Software required A free version of DaVinci Resolve or DaVinci Resolve studio
  7. The SCRATCH Essential course is designed for new SCRATCH users, but also for DaVinci Resolve colorists who want to add another excellent conform and finishing tool to their toolkit. Instructor Kevin P McAuliffe covers all the basics you need to know to perform the most common daily tasks. About the instructor Kevin is an award winning editor and visual effects creator based in Toronto with over 15 years of teaching and training experience. Over the past years Kevin has delivered world-class work for clients such as Warner Bros, Walt Disney Company, 20th Century Fox, Universal and Elevation Pictures. Who is this course designed for? DITs Conform Artists Editors Colorists Visual effects artists Software required Assimiliate's SCRATCH. Use the code PR3MIUMUSER at checkout to activate a 20% discount when buying SCRATCH.
  8. This is the ultimate course for editors and conform artists who want to learn everything about conforming inside of DaVinci Resolve! With 21 lessons and almost 5 hours of in-depth DaVinci Resolve training, Kevin McAuliffe will take you through every step and technical detail of the process from conforming media to mastering the final picture. About the instructor Kevin is an award winning editor and visual effects creator based in Toronto with over 15 years of teaching and training experience. Over the past years Kevin has delivered world-class work for clients such as Warner Bros, Walt Disney Company, 20th Century Fox, Universal and Elevation Pictures. Who is this course designed for? Editors Conform Artists Colorists Software required A free version of DaVinci Resolve or DaVinci Resolve Studio. Avid. Premiere and Final Cut X are used in some of the lessons. This training series is sponsored by our friends at digitalrebellion.com
  9. Stig Olsen

    Printer Lights

    Printer points were mechanical adjustments that affected the color balance and brightness of film before the digital age, and the technical process was done by a color timer. The systems used a series of dichroic filters that split the light into red, green, and blue, and each color then passed through 'light valves'. These were metal vanes that opened and closed in precise increments to allow the exact amount of light through to replicate the exact value for each light point. The three colors were then recombined back into full spectrum light and output to the film. In digital grading, printer points are still very popular and common corrections for setting the primary balance, but also for creating looks. One of the reasons for its popularity is that printer points move the signal in its entirety and alter the entire tonal range in the image. This way, we stay true to the way the original image was shot, and the result can be very clean and cinematic. To illustrate this we can look at the waveform when we add red and subtract green to a grey-scale image. The relationship between the shadows, midtones and highlights stays consistent, and the contrast never changes. By using controls that separate tonal ranges such as lift, gamma and gain, we betray the natural relationship between the shadows, midtones and highlights. This is illustrated with a gain adjustment in the example below. Other reasons for its popularity are that printer points are extremely accurate corrections that can be measured, and they are easier to communicate than wheel values. Printer points in DaVinci Resolve Printer points are equivalent to the Offset Controls that can be found underneath the 'primaries bar' menu inside of DaVinci Resolve. By default, the exposure of each color channel is set to 25 as a starting point, which refers to the center of the scale in most standard printer setups. By moving the sliders of the individual color channels up and down, the color balance will be altered. The combination of red, green and blue and the opposites cyan, magenta and yellow in varying degrees of intensities can create a variety of different colors. When working with the color channels we also need to take the brightness into account. By moving all the three color channels ganged together the brightness of the image changes. Moving all the color channels ganged together one time will change the brightness equal to about 1/12th of a full camera stop, and by moving them together twelve times the brightness will change equal to a full camera stop. Adjusting the individual channels also affects brightness, but at different levels. Changes in the red channel affects brightness more than the two others, and green slightly more than blue. However, to say how the eye would perceive these differences would be difficult as we have our greatest sensitivity in the green spectrum and our eye is more sensitive to changes in brightness than color. The combination of brightness and color can be used creatively, and in the example below we get dark yellow by subtracting blue and green. Some other interesting combinations are to remove blue and green to get red, remove red and green to get blue and to remove red and blue to get green. In the next example, we add red and green to get to yellow instead but this time the brightness increases. Other examples are to combine red and blue to get magenta and green and blue to get cyan. Corrections through the curve of a LUT The Offset Controls are calibrated to work on the narrow range of log encoded images only, and the results of the corrections are designed to be viewed through the curve of a LUT. This way the offset controls will act more like a traditional exposure control, as the image will expand and compress based on the shape of the curve. We can apply our corrections on a node prior to the LUT to keep the node structure clean, but the result will be the same if they are applied on the node with the LUT itself because corrections will take effect prior to the LUT. Creatively we can choose to apply the offset corrections in video gamma space after having normalized the image, but the controls will act differently than what it's designed for and the result will be different. Adding a point of red to the exposure in video gamma space gives you lifted red shadows, which isn’t the way exposure should work When we look at the corrections through the curve of the LUT, we will see more changes in the straight line portion of the curve rather than in the ends. It means that we can push color into the image without affecting the blacks and highlights as much as the midtones. Just the way different film stocks would act in the past when film was color timed chemically. The color balance of the image may also be altered depending on the color variables in the LUT. Some LUTs are also designed to push cooler tones into the shadows and yellow into the highlights even though we only adjust the brightness. The more aggressive the curve is, the more changes happens when working under the LUT. In this representation of the popular Fujifilm 3513DI D55 LUT (that can be found in the DaVinci Resolve 3D LUT list), we can see how the color channels interact with one another. Even though the exposure vary and color shifts happens, the contrast don't change. We can view the offset corrections through any curve, but the only way to keep the relationship between the tonal ranges and stay true to the way the original image was shot, is to use the exact same LUT that the DOP exposed for on set. If the DOP shot on Alexa with the Alexa K1S1 LUT in the camera, that is the one we should grade under and watch the corrections through. Balancing with Offset Controls With different light sources and color temperatures, it's sometimes necessary to balance an image to remove a color cast. Usually the color cast is apparent in the entire image and can for that reason effectively be removed with simple offset adjustments. Sometimes it's sufficient to only adjust one of the color channels, but in the example below we need to adjust two channels to bring the image into balance. To reduce blue, we can add yellow by lowering the numerical value of the blue channel, and then we can add red by raising the numerical value of the red channel. By pivoting the red and blue channel around the green channel that is placed in the middle, we don't change the exposure to much from how it was orignally exposed. In addition to color temperature, images can also have a tint issue. While color temperatures ranges within the orange/blue spectrum, tint ranges within the green/magenta spectrum. If the color cast is magenta, we can add green to correct the color balance, and vice-versa. Davinci Resolve has a Tint Control to deal with these situations but it's calibrated to work in video gamma space. That means the range can be a bit narrow on log-encoded images if the cast is too strong. Offset corrections can therefore be a better choice in those situations too. Balance the image or not Remember, white balancing usually means adjusting the colors so the image looks more natural -not necessarily «correct» on a scope. If a blue color cast works for us, there’s no rule that says we must neutralize the white balance. Sometimes we also deliberately ignore the balance for artistic reasons. This particular image is supposed to be blue and it’s perfectly natural. Just as a sunset needs to stay nice and warm. It's up to us to adjust the white balance, or to adjust it at all. Balance or not, it's essential to apply the LUT before judging how to approach the image. Full, half and quarter increments The offset controls can be available on the numerical keypad section of the keyboard by activating the hotkeys in the color drop-down manu. They are also available in half and quarter increments. A more sophisticated way to work with the offset controls in DaVinci Resolve could be to map the keys to a Keypad. By Lowepost Thanks to John Daro, Paul Dore, Douglas Delaney, Florian 'Utsi' Martin, Tyler Roth, David Cole, Walter Volpatto, Adam Inglis, and Paul Ensby for contributing to this article.
  10. In the DaVinci Resolve Beauty Retouching series you will learn everything you need to know about digital retouching and techniques which are useful on almost every single project you are working on. Learn how to clean up blemishes around areas that dramatically shifts and changes, build your own frequency separation from scratch, deal with flyaway hair, dark pupils, symmetry, teeths, dark shadows around eyes and much more. The techniques in this series will range from beginner to intermediate and advanced, but they are all easy-to-follow.. The project files and footage are available for download so that you can easily follow along. Download project files About the instructor Lee Lanier has created visual effects on numerous features films for Walt Disney Studios and PDI/DreamWorks. Lee is a world-renowned expert in the video effects field, and has written several popular high-end software books, and taught at the Gnomon School of Visual Effects in Hollywood. Who is this course designed for? DaVinci Resolve users and other finishing artists Some of the topics Clean up blemishes Build custom Frequency Separation Remove Flyaway hair Body Stretch and Symmetry Lighten pupils Teeth enhancement Remove eye circles Skin improvement Software required BlackMagic Design DaVinci Resolve Enjoy!
  11. In this tutorial series, our instructor Lee Lanier demonstrates creative techniques to clean up studio backgrounds in Adobe After Effects. Learn how to extend backgrounds, fix imperfections and even out uneven lighting fast and efficient using a variety of tools in After Effects The After Effects project files and footage are included so that you can follow along. Download project files About the instructor Lee Lanier has created visual effects on numerous features films for Walt Disney Studios and PDI/DreamWorks. Lee is a world-renowned expert in the video effects field, and has written several popular high-end software books, and taught at the Gnomon School of Visual Effects in Hollywood. Who is this course designed for? After Effects users Some of the topics Set extension Averaging backgrounds Advanced keying techniques Creating shadows Masking Tracking shapes Software required Adobe After Effects Enjoy the training!
  12. We are proud to introduce a Fusion masterclass in sky replacement with instructor Lee Lanier! With 6 easy-to-follow video lessons, you will learn advanced techniques that can be used to replace a sky inside of DaVinci Resolve Fusion or with the standalone version of BlackMagic Design Fusion. The DaVinci Resolve project files and footage are available for download so that you can easily follow along. Download project files About the instructor Lee Lanier has created visual effects on numerous features films for Walt Disney Studios and PDI/DreamWorks. Lee is a world-renowned expert in the video effects field, and has written several popular high-end software books, and taught at the Gnomon School of Visual Effects in Hollywood. Who is this course designed for? Editors, Colorists, Compositors and other finishing artists Some of the topics Motion tracking Keying techniques Inserting sky in the background Adding grain Simple color correction Software required A free version of DaVinci Resolve or the free standalone version of Fusion Enjoy the course!
  13. We are proud to introduce a Fusion masterclass in background replacements with instructor Lee Lanier! With 7 easy-to-follow video lessons, you will learn advanced techniques that can be used to create complex and stunning effects inside of DaVinci Resolve Fusion or with the standalone version of BlackMagic Design Fusion. The project files and footage are available for download so that you can easily follow along. Download project files About the instructor Lee Lanier has created visual effects on numerous features films for Walt Disney Studios and PDI/DreamWorks. Lee is a world-renowned expert in the video effects field, and has written several popular high-end software books, and taught at the Gnomon School of Visual Effects in Hollywood. Who is this course designed for? Editors, Colorists, Compositors and other finishing artists Some of the topics Motion tracking Stabilization Rotoscoping building-elements and face Fine-tuning roto shapes Inserting sky in the background Adding grain Simple color correction Software required A free version of DaVinci Resolve or the free standalone version of Fusion Enjoy the course!
  14. T he Avid DNxHR and Apple Prores codec families are designed to meet the needs of modern, streamlined post-production workflows. These days we capture source material on a variety of cameras- action cams, smart phones, drones and high-resolution cameras, and codecs makes it easy to work with any formats. With the growing demand for 4K deliveries, we need fast and reliable codecs that ensure reel-time playback while maintaining superior image quality. Both the DNxHR and ProRes families offer a variety of codecs for different compressions, data rates and file sizes. Some with just enough image information needed for editing, others for high-quality color grading and finishing, and lossless ones for mastering and archiving. Below are the full list of codecs from both families. #customers { border-collapse: collapse; width: 100%; font-family: Nunito; } #customers td, #customers th { border: 1px solid #ddd; padding: 8px; font-family: Nunito; } #customers tr:nth-child(even){background-color: #f2f2f2;} #customers tr:hover {background-color: #ddd;} #customers th { padding-top: 12px; padding-bottom: 12px; text-align: left; background-color: #ad00ff; font-family: Nunito; color: white; } Codec Color sampling Usage DNxHR 444 4:4:4 Finishing DNxHR HQX 4:2:2 Finishing DNxHR HQ 4:2:2 Mezzanine* DNxHR SQ 4:2:2 SQ Editorial DNxHR LB 4:2:2 LQ Editorial ProRes 4444 XQ 4:4:4 Finishing ProRes 4444 4:4:4 Finishing ProRes 422 HQ 4:2:2 Mezzanine* ProRes 422 4:2:2 Mezzanine* ProRes 422 LT 4:2:2 SQ Editorial ProRes 422 Proxy 4:2:2 LQ Editorial * In this case, Mezzanine means a compressed file that can be used to produce additional compressed files, but it is not necessarily useful for finishing work. Codec facts: DNxHR 444, ProRes 4444 and ProRes 4444 QC are the only codecs with embedded alpha channels. DNxHR 444 and ProRes 4444 XQ are the only codecs that fully preserve the details needed in HDR- (high-dynamic-range) imagery. Both codec families are resolution independent, but bitrate will vary depending on if you output a proxy file or a higher resolution file. Both codec families can be wrapped inside MXF or MOV containers. For more detailed specifications: Full DNxHR codec list Full ProRes codec list Codec differences DNxHR and ProRes was optimized to be visually lossless through many generations of decoding and re-encoding. Some claim to have noticed performance differences, but studies have shown that the quality and speed differences are negligible. An important difference, however, is that some of the major editing and finishing systems available lacks support for ProRes encoding for Windows. This means Windows users can read a ProRes encoded file, but in some cases cannot export one. For this reason, many post-production facilites have abandoned ProRes and implemented a full DNxHR workflow. There are systems that Apple fully supports such as the Adobe programs, Nuke and Scratch, but DNxHR is accessible universally. Another important reason for the success of DNxHR is that Avid can read the files natively from its own MXF file structure. This eliminates the need to import clips and timeline rendering. Lowepost
  15. Hi Everyone! After having used the last years to discuss color grading with the best colorists in the world, seen many different approaches, techniques and ways to build grades, we thought it was a good idea to create a video tutorial series and share some of the techniques and insight we have learned. We landed on doing scripted (pre-written) tutorials. That means we can concentrate the content, be far more to-the-point, make them shorter and avoid wasting your time with distractions. The first one is about silver retention (bleach bypass) and is available for our premium members in the insight sectiom right now! I hope you like it!