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Found 34 results

  1. Hello Guys! Dehancer https://www.dehancer.com/ is a film emulation plugin for Davinci Resolve, currently available for Mac users only. Works with: DaVinci Resolve 15 and later Mac OS Mojave 10.14 and later Metal-enabled GPU For many years we are running a film laboratory in Moscow https://sreda.photo, where we sell, develop and print film, both for photo and movie. Last 4 years we spent developing a plugin that emulates the processes and behaviour of a real film. It's not the LUT, it's a much more complex set of tools based on precisely measured analogue processes. Pro version includes Input camera profiles 52 Film profiles Expand tool Print options CMY Color Head Film Grain Bloom Halation v2 Defringe Vignette False Colors LUT Generator ACES support For our friends from Lowepost, we offer a 10% discount promo code DEHANCERIT10 for any product in our store. You can download a full version with watermark of our plugin on the website without registration. If you are a professional colorist and would like to receive a two weeks full trial to check on a real-life project, send us a private message here with your email and we will send you a license key shortly. Or reach us by email marketing@dehancer.com You can find more detailed information about the plugin in our blog https://blog.dehancer.com/articles/ Subscribe to our Instagram and youtube page https://www.instagram.com/dehancer.film/ https://www.youtube.com/channel/UCsvgRJwcWFYNNMuhXkxR3Gw If you have any questions please feel free to ask!
  2. Hi everyone, I'm using the Davinci Resolve for many years and I noticed it's missing a major "feature" that was in previous versions. (since version 14) When working in projects with a MASTER TIMELINE, I often grade within an AAF/XML timeline and render the master timeline. What's happening now is that when I'm in the AAF timeline, and I need to see the current clip in the MASTER timeline, I used to be able to just switch to it via the drop down over the record monitor. However, when I switch to the master timeline now, it just goes to the head of the master timeline instead of the selected clip. No sync between the playhead of the timeline I'm working in and the master timeline anymore. I have already ticked the box "Sync master timeline to current frame" in the user preferences (I've also tried to restart resolve or build a new project) It is happening since version 14. I have tried this on PC, mac and many computers. I really don't know what I'm missing. Thank you for your time and sorry for the grammar. Cheers,
  3. Great news for you! On June 20, 2020, the official resource of the Colorist Awards 2020 became available to apply for participation in the Awards. This is a great opportunity to be the first in this big event for the colorists world. Apply for registration today, and start preparing your work to become a winner in the nominations! Acceptance of payments, as a registration fee for participation in the Colorist Awards 2020, from bank cards registered in the USA, and PayPal service will be available after June 27, 2020. This feature is caused by a number of technical difficulties in organizing the correct Internet acquiring in this direction. official website: www.coloristawards.com Team of the Colorist Awards
  4. Hey guys and gals, New to this forum, quick background of myself. Did Audio since 2006 and two years ago gave up audio to do video. Now i am 2 years into video and do everything for my company. I still am having a lot fo trouble learning color correcting and color grading. Im not sure if its my camera, my eyes lol or just not sure what Im doing wrong. I know Ive been filming in AUTO ISO but lately I actuall manually ISO my enviorement. ANy how long does it take to be a good colorist. I am based out of Los angeles if anyone knows anyone who can help !!!
  5. Here is my colour grading reel and the link for my website! 😊 https://www.clementbouchet.com/grade-reel I've been working in France, New-Caledonia and Australia. (editing, colour grading and a bit of VFX) Have a look!
  6. I do not often deal with the color correction of other people's projects, but I almost always paint my own, now I have a slight bewilderment, I can not pick up color for these frames. It's a short meter, a comedy genre! If you have the opportunity to help me please check with the color! Alex camera, ProRes material 444 Raw file here: https://fex.net/635068188718
  7. Here's a tutorial I posted a while back, but it's still very useful today: Creating areas of light and shadow are no problem with DaVinci Resolve. PowerWindows, polygons, or curves can be a colorist's best friend when controlling where you want areas of contrast. The only thing that limits you is the simplicity of the shapes. When shooting on set, a pattern or "gobo" can be placed in front of a light source to create shapes. We can use the same technique in Resolve by using external mattes. In this tutorial I will show how to create more intricate shadows or highlights that can make your images more moody or suggest location. LINKS: Directory of Gam Patterns: bit.ly/gampatterns Images used in this tutorial: bit.ly/noirpatterns image courtesy of Marta Colpani: flickr.com/photos/martacolpani/4934952722/ Noir Shadows and Highlights with DaVinci Resolve-HD.mp4
  8. Hello everybody. I have long wanted to ask, but could not. Why DaVinci? Because - Price? Quality tools? Flexibility? Accuracy in color? Capabilities? Support? After all, once the company BM lowered the prices of their program (Davinci), then immediately appeared thousands of "colorists" in the world who "can" create "wonderful" images. Yes, of course, BM has made available to many people, the world of color correction. But BM did not create these people colorists! Now almost every other editor thinks he "colorist" and that he is able to do the work of the Colorist. It reminds me of the transition from foto-film to digital photography. When I could for a long time to build the shot and choose the composition of the shot, before you take the picture. And then I selected the frame I want to print it already. Now, I see the thoughtlessness and empty, without life pictures on the Internet. So, "Why DaVinci?" Alex.
  9. Flanders CM171 broadcast monitor for sale. In mint condition.ony been used in studio. Asking for 2800CD
  10. Hi all, this is a real quick rundown on SCRATCH color management and explains how SCRATCH deals with mixed colorspaces in one timeline and how you can output different colorspaces from one CONstruct.
  11. Hey guys, Just finished a new color reel for 2016. Includes my work on music videos, commercials, weddings, and passion projects. Would love to hear any feedback! Thanks! Evan
  12. Digital Vision is pleased to announce the release of the 2016.2 version of Nucoda grading and Phoenix Restoration software. SDK Updates Arri support for Alexa Mini ● Support for Alexa Mini MXF files - Audio and Video ● Support for new 3168 format in Alexa SXT ● New colour processing version for Alexa SXT ALF-2 Looks ● New anamorphic factor 1.33 (4:3) RED support (6.2.2) ● Rec.2020 colour space support ● Support for Helium sensors ● Weapon 8K and Raven 4K support ● New HDR GAmma options HDR-2984, BT.1886 and Log3G12 ● Support for Red Wide colour Gamut ● Imagegammalog 3G10 ● Rocket-X driver 2.1.34.0 and firmware 1.4.22.18 or later ● Rocket driver 2.1.23.0 and firmware 1.1.18.0 or later Sony SDK - Change to previous behaviour New settings: ● Video SMPTE > Rec.709 ● Full Range > Rec.709 ● Cineon Log > SLog2 ● Video Log > SLog2 ● Aces > Aces New GUI features for Nucoda and Phoenix Keyboard shortcuts added for making tracks larger and smaller ● Using Alt+Up or Down arrows will make timeline tracks larger and smaller Record time splice After selecting one or multiple clips - pressing Alt+B will splice the clips to the selected track but will splice the clips based on their in code. This way it is easy to paste VFX clips where they belong based on their start timecode. ● This mode always overwrites In and out points are respected when splicing: ● If both in and out are set and the material falls inside the range it will be spliced ● If the in or out points are shorter that the source, but in a valid timecode range, the source clip will be trimmed and pasted between the in and out points. ● If the in and out points are not in a valid range an error dialog will be shown. Progress bar for XML and AAF imports When importing AAF or XML files there will now be a progress bar while importing, import functions can also be cancelled using the cancel button on the progress bar. Improvement when moving multiple clips on the timeline Moving many clips on the timeline is now much faster. LUT exports Using the export LUT menu, users can now export both a LUT and an Inverse LUT. This is particularly useful for restoration workflows where a LUT is applied during the restoration work, but the LUT need to be removed afterwards. ● Only 1D LUT’s are supported - no colour transforms ● The Inverse LUT function will only be available if the 3D LUT option is deselected ● v2 CMS and HDR is supported for export - for V2 files the range is restricted between 0 and 1 ● No negative values are supported ● If an invalid Master Curve is used the export will report an error. ● Remember to specify the layer to be exported ACES 1.0.2 New Look Management Transform ● A new LMT has been added to the CMS/ACES 1.0.2/LMT folder ● LMT.Academy.ChromaFix.1.0.2.cms ● It is to be used as a LUT in an ACEScc project, ensure that the “Apply in Linear ACES” button is selected when using this LMT. ● It is designed to mitigate an issue with certain cameras that seem to generate colour values that are not correctly rendered in an ACES project. This can include blues and cyans, reds. ● Older ACES version LMT’s have been updated. For those of you grading in ACES regularly, we have a beta version of ACES with ACEScct colour space available.
  13. Hi. I was very closely linked to the Edit. And there is an excellent article which presents 6 myths in this. http://postperspective.com/jonathan-mosers-myths-editing/ And the question came. Are there any similar myths in relation to the color correction? Alex.
  14. Hi. Almost any software can operate with the panel. The original or universal. How Community colorists present position is that there should be a panel necessary? As far as I have information that Steve Scott (Technicolor) does not use the panel during operation. Alex.
  15. I have found interesting page showing color palletes from famous movies: http://digitalsynopsis.com/design/cinema-palettes-famous-movie-colors/
  16. Hello everybody. The network recently came across the information that has insider information. BM 2 produces panels! BASE premium segment will be in the range of $ 5-7k and will work anywhere in the Mac / Win / Lin - (in progress for the replacement of the current panel) Segment lowcost LITE will be around $ 999 -2K and will work on a different software for tsvetokora ... «Tangent Element killer" Perhaps you have heard something? Alex.
  17. Hello everybody. I’ve a question to which no one could not give me an answer. In these studios like Technicolor, the Lustre program is used with its personal modifications, or not? Or is this Top Secret and confidential information? Alex.