Nicolas Hanson

5 hours ago, Anton Meleshkevich said:

And one question about music videos. Clients for some reason always want me to render final master in 4k for youtube. But 99.9% music videos on youtube still in HD. I mean most expensive music videos are still in HD? Is it because youtube downscales video from 4k (UHD) to HD not so accurate as, for example, davinci resolve?

I don't think Youtube downscale 4K to HD, they simply compress the image and reduce the bitrate. It's common practice to work in UHD and deliver HD. That's good enough as the bitrate and some other factors defines quality, not so much the amount of pixels.

I agree with Abby that the contrast can really define how we perceive the sharpness of an image.

Black beauty?

I don't know what I'm doing wrong, but the stabilizer in Davinci Resolve 15 doesn't work. I have clicked "Stabilize", and "Perspective / Translation", it has analyzed the clip but when it's done nothing happens. Should I click "apply stabilizing" or something? Can't find that button... Is it behaving this way because I'm trying to stabilize a compound  clip?

It looks like you are correct, it works properly now so probably just a connecting USB issue. 

Sure, I just have too many galleries so it would be faster for me to copy the entire folder. 

After upgrading to DR15 it takes forever to stabilize a clip. The video stabilization window opens and the analyzing process runs for about 6-7 minutes on a short length clip. When I choose to stabilize translation data instead of perspective it takes even longer, probably double the time.

I downloaded DR15 today but the Fusion part hangs all the time. Is it stable on your systems?

Where do I find the power grade folder? Want to upgrade and bring the power grades with me.

Suddenly I got this message when trying to open Davinci Resolve: Davinci Resolve Studio Licence Dongle not Found. The dongle is inserted and I've not had this issue earlier. Any idea what is going on?

No extra cost for Fusion?

On 21.12.2017 at 4:28 PM, Tom Evans said:

What would you call the cold blue/green look seen on many TV dramas? Like in Bates Motel (that a can't recommend enough!) when scary things is going on? Love this trailer! 

 

The colors in Bates Motel are absolutely amazing, and it looks like a painting. I have noticed that they blur the highlights. 

I have noticed that the chroma dark preset actually change the low parameters and inverts the luminance range.

Wouldn't it be better to change the high parameters instead to avoid the extra step of inverting it?

To me the result looks the same.

Thank you, I think that the calculations are more accurate in photoshop, or at least it targets a specific rangea that is not easy to recreate with curves. Moving the orange slider is not exactly the same as raising it in the lum vs. sat curve tool when it comes to accuracy.

Can anyone explain to me how to recreate the Photoshop high-pass filter in Davinci Resolve? I'm trying to create step two in this tutorial https://www.digitalartsonline.co.uk/tutorials/photoshop/add-authentic-looking-vintage-look-photo/#3

In Photoshop you can go to HSL/GREYSCALE/SATURATION and decrease or increase the individual color channels such as red, orange, yellow, green, aquas etc. Does DaVinci Resolve have any tools that gives us this precise control over the individual colors?

I would like to know about any methods for creating cross processing looks in DaVinci Resolve. What is your approach?

It seems like the VSCO Film Presets are popular among still photographers and others. Are there any magic involved in making these presets or are they simple color transforms?

Can anyone tell me whether it's called a print emulation or a print film emulation? What is the correct terminology? I see different writings online.

I understand that most LUT's expects log as input, and that if you are working with rec709 footage you should transform your footage to log. But, what is really the drawbacks of using the rec709 look LUTs on rec709 footage?

I have seen that there are LUTs on the market that expects rec709 inputs. Would those provide the same functionality as the same LUT in log version used on an log image?

I agree with you, but in this particular case the grain is applied on digital footage. They want to reduce grain on the master file (that's the only file available) and do some layer corrections.

I'm working with an old film and the client want to de-grain? I have had bad luck with using the noise removal on this, any suggestions?

On 19.2.2018 at 8:11 PM, Serge Kosevtsov said:

On curves, gradients and scopes it is visible.

How can you see that on on the curves?

On 14.2.2018 at 6:54 AM, Serge Kosevtsov said:

Osiris LUTs are commonly shitty stuff for result. Like maybe 99,9% of luts on web with no difference free or paid. Might be good as monitor creative luts on set

How do you determine if the LUT is shitty? By using taste or scientifically testing?