Craig Harris
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You’ve graded your feature, episodes, or commercial and it looks awesome. What is your ‘go-to’ when converting your masterpiece from it’s original format to a range of formats for television and web? Software or hardware? And why?
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I’m looking for a NAS storage solution for a small company consisting of an editor, colour assistant, and colourist. Has anyone worked with a Synology unit like the Disk Station 3617? It claims 3500 Mbps read and 2500Mbps write when using 10Gig E. Any recommendations appreciated.
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Lots of gold in this series!!! Thank you, Lee.
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Hi, Az. I’ve been specking out a system with a company called Z Workstations. Send a message to them and Jonathan should be able to answer your question.
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Track paint and cloning in DR Fusion
Craig Harris replied to Cristian Baitg's topic in DaVinci Resolve
1. It might. You'd want to use a planar tracker to track the plane that the bokeh is on. If that doesn't work you may have to do it manually. With that being said, it might be best to reach out to a VFX artist that you could hire to do the shot or teach you. 2. Trial and error. You'll have to see what works and if this method doesn't, then look for another approach. A note on the TimeSpeed. It allows you to create a freeze frame (set to 0) which is similar to how Mocha creates and uses plates. Hope that helps.- 11 replies
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Track paint and cloning in DR Fusion
Craig Harris replied to Cristian Baitg's topic in DaVinci Resolve
Hey, Cristian. This was a really quick result of your shot using Fusion with a TimeSpeed node combined with the Paint Clone tool. For this example I created an animate polygon mask around the left side of the screen where I applied the TimeSpeed to "0" and then painted out some of the bokeh with the PaintClone tool. Once you get familiar with some of the approaches like this it's actually very fast. The same technique would apply to the spots on the glass or any other part of the image you want to remove. Members on this forum probably have other ways they would approach this kind of work, too. This is just one way that I find works for some of my projects. Bokah Removal.mov
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Marc’s list summed it up for me. I am curious if there will be a new panel in the works to handle the added functions of the new zone based controls or it the existing panels will be able to handle that.
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I'm grading a feature shot with the Canon C300 that used Canon Cinema Gamut/Log2. For my workflow I'm using DaVinci Color Managed with a Rec709 timeline, Canon Cinema Gamut/Log2 input color space, and no LUTs. For the most part it's fairly straight forward but there are several shots with a large dynamic range and I'm having an issue handling the highlights. To bring the highlights into legal range I'm using a mix of controls (gain, high soft, log), but by the time the highlights are in range I end up pushing the rest of the image to a range that I'm not happy with. Also, the brighter regions are really blue/magenta which is not pleasant. Wondering if anyone has experience working with Canon Log footage and could provide any insight.
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Color Management Workflow in DaVinci Resolve 16
Craig Harris commented on Lowepost's course in legacy
Awesome job on this, Lee! -
Looks beautiful.
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Peter, Thank you very much for this case study. Super practical and now I'm going to go watch the film Craig
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That’s great!
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LG OLED for reference monitor
Craig Harris replied to Chinmoy Roy Tutul's topic in Monitors/Projectors
Alter Ego post in Toronto pairs their Baselight systems with calibrated LG OLED monitors. You can't use an LG consumer models for HDR mastering but they are a really great option for grading. -
I know there are some colorists who use Baselight Editions to grade entire projects within the AVID. One of the drawbacks though is that AVID prevents the plugin from playing back footage with the plugin window open. Other than that I believe all of the same tools are there. Craig
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I'm looking for a used and well-taken-care-of Tangent Element panel. Is anyone selling?
