Nicolas Hanson

Hi Jeremy.

You are not doing anything wrong by adding the mattes to a top track and using the blending modes. The only difference from adding the matte as a matte clip is that that latter lets you loop the clip.

Copying track data from node to node on the same clip is possible, but from clip to clip is not possible.

It makes no sense that this should be possible in the color module. Tracking the way you want to use it is an important part of visual effects worl and In Davinci Resolve this feature belongs to and is possible in Fusion.

Sometimes clients only deliver a submaster like a ProRes with dissolves. I run it through the scene cut detection tool inside of DaVinci Resolve but I always struggle a bit when I need to color clips before and after a dissolve. What would be yours approach on that?

https://ibc.gallery.video/ibctv/detail/videos/ibctv-interviews-–-full/video/5835518663001/ibc2018-full-interview-with-maxine-gervais-technicolor?autoStart=true

Use the offset wheel to dial in the color balance and use the skin tone as the reference of interest. That works 99% of the times. 

Do you know it's possible to disable all the nodes in the timeline without doing it manually on every clip? Need this to render a clean version.

Why would you need make-up artists or gaffers on set if you could fix makeup and relight the set in post? If the scene is lit poorly and the make-up is bad you should tell them to put some more money into production next time. I hate the word budget, and especially when problems are routed to post. To be nice, I would probably not give them the speach but let them know that skin replacement is a job for the VFX department and that colorists mainly handle colors. You could reduce some midtone details, draw the attention elsewhere in the shot or try to use color smart ways, but nothing can beat bad make-up. The OFX beauty mask could be worth a try as well. 

Don't let anyone tell you that this is normal. It's not. 

Personally, I think that the membership requirements are a joke. Your best best is probably to get to know other colorists online to get the recommendations. That said, I'm not sure what you will gain from joining them really.

Full Member - $120 (USD) Subscription period: 1 year

Open to all professional colorists, telecine operators, color timers and DITs with a minimum 3 years verifiable experience. Full Membership requires two Full Member references, or one Full Member plus a paying client or employer reference. Dues are to be paid once the Membership has been approved by the CSI. Approved Members are entitled to use CSI as a suffix to their name, have access to private member blogs and forums and receive discounts on applicable courses. Members appear in the CSI Member Directory available to other members and sponsors.

Great thanks!

Why dont BMD offer Prores support if a small developer as Assimilate can do it?

Cool, it looks great! Will check out stream deck! Can full, half etc be configured in the software menus as well?

How can I change the offset increments to half etc in the menu? 

I'm trying to import it into DaVinci.

When I try to import an XML from Premiere into Davinci Resolve it links to the DNxHD proxy media and not the original Alexa files. How can I direct the XML to link to the correct files?

Late night... I ment GIF

I just want to make a GIF-sequence but I got some strange artifacts when I tried to export it with Adobe Media Encoder. Any other options that can export high quality GIFF-sequences?

Another issue with the footage is that the trees that are surrounded by the blown out sky got magenta edges. It's clearly artifact and I've reduced it some of it with hue-vs-sat desaturating the magenta. But it still isn't 100% gone.

Interesting technique! It's not an alternative because it would be a very time consuming roto job as there are a lot of moving foreground elements. 

I'm asked to color a burned out/clipped sky blue to make it look like summer. I can't reach a natural blue probably because of the density level and everything I do ends up looking fake. Any tips? Sky replacement is not an alternative.

Now with the Fusion integration you can drag the Delta keyer (or Chroma keyer) down on the line, do a simple key and it will update automatically in the color tab. It's fast and you don't need any Fusion knowledge to do that. 

I'm looking forward to dive into Fusion, but I'm on a Windows system and I've had a few crashes and find it too unstable to work with at the moment. Can't see any Windows+Fusion+Crash-notes here, but I will definitely download and see if it's usable now.

I got this error when I tried to stabilize a clip on my timeline with the new Stabilizer in Davinci Resolve 15 "The GPU failed to perform image processing because of an error" "Error Code: 77." Any idea what is wrong? Haven't had any GPU related issues earlier.

I'm trying the new stabilizer in Davinci Resolve 15, and it seems like it's stripped for manual controls? By simply pressing the analyze button, waiting for it to automatically provide a solution feels like pressing the auto-color button. Any tips on how to achieve better or customized results with it?

Do you know if it's possible to import two EDL's simultaneously so that they appear stacked up on each other in the timeline?