Nicolas Hanson

A big thank you Walter and Lowepost, this is big! 🙏

A big thank you Walter and Lowepost, this is big! 🙏

You can hit the wall by not preparing for HDR, 4K etc of course, but how long will you an Eizo monitor last when thinking solely on the life span of the components and the image quality? Second, I have read that Eizo will update their cg2730 to a cg2740. Is that because the technology is old, and will they also update the cg279x?

I wonder if I can save some cash by going for Eizo cg2730 instead of Eizo cg279x. I hope to be able to trust the internal calibration, but I understand it relies on calibration with a 1D LUT only. So for 100% accuracy I would probably need external calibration with a 3D LUT that cg379x has built in. I have also picked up that I don't need the built in 3D LUT capability that comes with cg279x if I add an external 3D LUT box (which I dont want to do) or output a 3D LUT from Resolve. So my question will be; what is the process of outputting a 3D LUT from Resolve when used for calibration? Is this a process done when calibrating only? If it's just a matter of doing a simple process in Resolve each time I want to calibrate, then I would probably go for the cg2730 and save some money.

Thanks for sharing your thoughts guys! I think I will go for 32GB, the 8GB update and 1TB SSD, but I'm a bit afraid of the fan noise... any experience with that? Not sure my wife will be very happy if it isn't silent when working from the sofa.

I have a scene with an actor taking a photo of an object on a table. I need to add a flash. The shot is top down, so you don't see the actual flash light on the camera. Any suggestions on how to create it in Resolve Fusion?

I bet Kevin will chime in on his setup for the twelve camera concert, but when it comes to performance as it seems like you have issues with - transcoding to a proxy format is your friend.

Hi Jussi. What you are asking is not specific to Multicam but to performance in general. I highly suggest you transcode all your footage to DNxHD36 or PRORES Proxy prior to setting up any project for editing in DaVinci Resolve. Then you don't need to think about optimising your media or run things in lower resolutions. Working with high resolution media in DaVinci Resolve will always, need to be cached or optimised and come with a risk of slow playback.

Thanks for going in detail about this Bruno, really appreciate it. At work we have a 2017 Macbook Pro with 3.2gHz, would that be a better choice than a 2020 with 2.3/4gHz?

You should choose a working space based on the majority of your shots. ARRI Log C in your case. Then, for the one RED shot, use a CST/DCTL to get that one into the same space. Treat all shots equal. Run your corrections through a Log2Rec709 LUT at the end of the node tree if that is what the DOP used or a custom curve / contrast adjustment if you have the experience. Or work scene referred. Watch the color workflow course on this site carefully and you will be able to take qualified decisions wether to do it one way or the other.

Hi Nicolas. I went for the same setup but is a bit surprised by the performance. It's stable but I'm having trouble editing Apple Prores 4444 files. Is that normal?

For some reason the player window in the media and edit module is set to square (1:) instead of 16:9. I have set the timeline resolution and video monitoring to 1920x1080 (square) and the image scaling settings are set to "scale entire image to fit". I have created new projects with the same settings without any trouble so it might be a bug, but I thought I would ask if it's a stretch/squeeze button somewhere that I don't know about such as the one below the player window in After Effects.

I'm looking for a home office solution (read: sofa solution) to run Avid and Resolve. I don't exactly need to run 8K in full realtime as the directors and clients aren't sitting next to me, but sometimes I will probably need to connect it to a client screen and have a session with others in the room. What Mac laptop would you go for?

I have a brightness/contrast node after the mediaIn2 and the third node is a merge that is connected to MediaIn1. When I adjust the brightness it affects the whole image. Why is it like that? Shouldn't it only affect MediaIn2? How can I force it to only affect the brightness of MediaIn2?

Is there any way to get DaVinci Resolve to float? Now it's either minimized or full screen so that I can't reach anything on my desktop. I'm on Mac.

You mean importing the external clip with a loader and output the alpha to the color module?

And what if I want to grade the external clip?

For some reason is works if I tick the loop button...

What if I want to change the grade after the comp is done?

I'm trying to sort out what is the best way to set up a simple composting workflow in DaVinci Resolve Fusion. I have my main color graded shot and a couple of external shots that should be brought in and comped in on top of the main shot. My main concerns are that I'm prevented from creating a "new fusion clip" from the edit tab because (1) My main shot is graded and I want to be able to continue grade on it after the comp is done. (2) When I enter the Fusion tab I'm presented with the log shot but I want to do the comp one top of the graded shot (3) I want to be able to change what part of the external clip to use in the comp. So, That leads me to working inside of the Fusion tab without merging the clips using the "new fusion clip" command in the edit module. Then I can import the external clips with the loader node instead which lets me adjust what part of the external clips to use. It also allows me to regrade the main shot after the comp. But, I'm still can't comp on the graded shot. I know I can load a LUT but that will not do it in this case. I understand that comping a log shot with external log images is the preferred method sometimes, but what about those cases when you have linear images such as a jpg to be tracked onto a bus etc? Then I guess it would be better to comp on a graded image etc and not apply a grade on top of everything. Any thoughts?

It looks like this is just an issue with the b-spline. When I add one of the other masks to the alpha input of the input node it doesn't change the scale. Is this a known bug? Workaround?

I want to scale down the image and draw the shape on top of the scaled down image, sounds quite simple but I can't wrap my head around how this is processed. I scaled down the image with a transform node , and now I want to use a b-spline to create a mask. When I draw the shape and connect the b-spline to the media input it automatically scales down the shape. It's like it's applying the scale data from the second node (transform node). Why is this happening and how can I avoid this? I know I can add the spline after the transform (on the merge node) but that doesn't allow me to go back and change the position of the shape and the image simultaneously later on if I want that.

Not sure what's the issue here, but for some reason I can't get anything else than still images to show in the viewers when importing through the loader node. I have connected it directly to the media out node without anything interfering and tried to send it out to both the viewers.

How do I remove or delete key frames of my moving shapes in DaVinci Resolve Fusion? I know I can delete keyframes by right-clicking on the parameters on regular effects but it doesn't look like it works the same way on shapes.

Any idea why the loader node in DaVinci Resolve Fusion turns red when I'm importing a video clip?