Victor Riley

@Walter Volpatto You talked about using Group Nodes as a place for HDR trims and looks in case there isn't a timeline look. Could you elaborate more on the node structure you're using in Groups and Timeline? I reckon you don't use Pre-Group that much, but I'd be interested in your Post-Group trim node structure and your Timeline node structure.

On 1/13/2021 at 3:58 AM, Walter Volpatto said:

the reordering of node in V17 is highly aggravating.....

Just a quick heads-up on that @Walter Volpatto: There's now a checkbox for this in Resolve settings: 

Edit: This is Resolve 17 /17.1 beta 7 – and is even noted in the changelog for the release: Addressed user preference issue for fixed color page node numbering. https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=132194

I'm really liking your minimal approach, @Walter Volpatto. I feel like with the broad set of tools available to colorists, it's easy to complicate things and go overboard with "corrections" and "looks".

Just now, Walter Volpatto said:

it will be boring like hell!!!!

keep in mind that when you work with excellent DoP, colorist have nothing much to do..... I work with excellent photography...

 

2021 is 13 days old, and you've just won understatement of the year.

42 minutes ago, Walter Volpatto said:

I like the math with luma mix at 0, especially when I need to use LGG controls (rarely)

 

Funny enough,  in ACEScc/cct the logarithmic is such that a offset is really mathematically equivalent to a exposure change. 

I really like the  offset-focused approach for its simplicity and easy transfer using different grading spaces, and I'll be surely playing around with your node tree for a while.

I'd love to see a full master class with you – I think all of us here could learn a lot watching you grade. 

11 hours ago, Walter Volpatto said:

The basic idea works in HDR/SDR/and ACES.... there will be appropriate transforms either at group level, timeline level or ODTs.

Thank you so much for your answers! I assume you're working  in Arri Log C whenever you can, and manage the transforms/IDTs/ODTs at a node-level – but an ACES-workflow would demand having the grading space in ACEScc/ACEScct. How do you approach this? DaVincis controls in ACES often work...unexpectedly bad.

Dear Walter, thank you so much for this insight! It's incredibly valuable information you're providing here. I love your idea about discipline and creativity inside a constrained workflow. With open-ended tools like Resolve, it's easy to forget basics and lose oneself in dozens of correctors after correctors after correctors.

A few questions that came to mind watching your course and playing around with the node tree:

- How do you go about (if even) node caching? Depending on the footage and grading system, playback after heavy noise reduction in particular benefits from a cached node, which is why one might want to put that as the first operation on the tree.

- You've talked a bit about color management in the comments. Could you elaborate more on that? For example, how would you work when there's an ACES-workflow demanded? Or you have to work with HDR and SDR deliverables?

- Did you have the chance to play around with Resolve 17? Any new tools that piqued your interest? I'm still trying to wrap my head around the color warp tool, and I fear that the new HDR palette might be a bit overhyped for what it can really to to improve an image, but maybe you found something you really liked?

- Resolve 17: regarding the node re-numbering "feature" all of us hate that can't be turned off and f*cks with rippling – how are you gonna deal with that?