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Showing results for tags 'resolve'.
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Tangent have added a great new feature to our Warp Engine which now allows you to simply record actions performed on the application’s GUI, and associate those recorded actions to a control on the panel. The control can be a button, knob, dial, trackerball or ring. Moving or pressing the control will trigger the playback of the recorded actions. This means that there’s no longer any need to code Warp Scripts by hand (although you can still do this if you prefer). Actions that can be recorded are: Mouse moves. Mouse drags. Note only a single drag can be performed in a recording. Mouse button clicks. Mouse scrolls. This is useful if sliders accept a scroll input. Keyboard keypresses. Here's an example of how easy it is to map the offset colour wheel and its reset in Resolve: To try this out for yourself right now just sign up to join our beta team.
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Hi there, I'm working in Resolve on a mac with a cleanfeed to my EIZO CS2700s via an Ultrastudio 3G over HDMI. Regardless of whether I set my monitor's input range to "limited" to match Resolves' Data Levels set to "video" or set both to "full", ticking the "Use 4:4:4 SDI"-option in Resolve (project settings --> master settings --> video monitoring) results in a huge brightness-shift. So that left me wondering whether I should check or uncheck the "Use 4:4:4 SDI"-option and why it's even altering my signal over HDMI? Thank you for your help - I'm really confused at that point... Cheers, Flo
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Job description for Senior Colorist Studio Skwer invites Colorists around the world to submit their portfolios/showreels to be considered for the opportunity to collaborate with the Studio Skwer team. We currently have a position open for a full time Colorist, in our facility located in Mumbai- India, responsible for colour grading a wide range of visual contents, primarily for advertising, OTT and Feature films. Studio Skwer is looking for innovative and passionate Colorist who can create edgy, new age look and style. Work at the heart of the post- production industry, you will have an opportunity to collaborate with the top filmmakers and advertising agencies to make your mark as an artist, embracing different artistic color grading styles and methods. Experience in high-end colour grading process, with an 'impressive showreel'- (preferable advertising reel) Practical and technical knowledge of HDR, 4K, P3 and SDR delivery workflows from ACES pipelines (HLG, DolbyVision, etc.) Indepth understanding of most up-to-date colour grading techniques and technologies. 3 to 8 years of professional working experience Expert level skills with Davinci Resolve Excellent communication skills with both clients and colleagues. For further question/ information, please write to us at the following email address: color@studioskwer.com Apply for this position: https://www.linkedin.com/jobs/view/3342459790 About- Studio Skwer An artist collective company with a vision to enable and articulate value for the art of colorgrading and finishing through next – gen visual experience! Instagram: https://www.instagram.com/studioskwer Linkedin: https://www.linkedin.com/company/studioskwer
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Hello all, I had done grading of a regional feature film, now they have given it for OTT platforms, and they are asking for a dolby vision version of it. if someone can tell me the proper workflow to obtain proper result in davinci resolve 16.. thanks
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I found photoshop hue control (hue/saturation) affects image differently compared to Davinci one. How can I get similar to photoshop hue control results using Davinci Resolve hue control? -
FilmConvert is launching our new plugin CineMatch, designed for all filmmakers working with footage from multiple camera sources. CineMatch helps you quickly and easily match footage from over 50 different cameras and manufacturers, including Sony, Canon, Blackmagic Design, Panasonic, Nikon, RED, DJI, Arri and more. CineMatch works as a plugin in Adobe Premiere Pro and DaVinci Resolve, and we're planning to expand support to FCPX in the coming months. We'd love you to check out the free trial available at www.cinematch.com and gives us your feedback so we can continue to improve the matching tools and provide an even better experience for editors and color graders out there. -
Hi everyone! I would like to learn more about printerlights/offset. I know they are and were used a lot for a primary balance, but hating LGG I would like to learn more how to create super looks with offset/printerlights. Cause moving all the tonal range affects highlights, shadows and skintones quite a lot and I don’t know also where to put the look node, cause as I understood well, printerlights’ effect has to be seen through a curve. Do I have to put the look node before the first balance/contrast? How do you deal with skintones/qualifiers? Thank you in advance, have a great day.
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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 timeliine 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 brand new projects) 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,
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Hi I have a question, maybe some one can help me with. I have a multicam timeline in davinci resolve with 3 multicams and 8 more audio tracks. I do all my sound works in this timeline in the fairlight panel. But when I use this multicam timeline in another timeline (as a scene from a longer movie) - I only hear the first stereo channel of the timeline - while I need to hear the stereo output of all the tracks in the two tracks of the nested timeline. Can you guide/point me on how to do it? Thank you and Happy Holiday!
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Hi everyone, Does anyone know if there is a tool to manage bright saturated color clipping (out of gamut colors) in Resolve ? Something similar to the Baselight compress gamut? Thank you,
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I've recently written an article for the frame.io blog about vfx workflows with Nuke, Flame, After Effects and Resolve/Fusion. Would love any feedback or perspectives on the information: https://blog.frame.io/2020/02/17/vfx-workflow-best-practices/ Thanks, love this site! -
Hi. I have ignored this issue long time now (R15.3) change cache location and close project prefs or even save does not actually save that information at all and leaves it as it was before. Seems like once project is populated it is impossible to change. Just left feature to cache over night for faster render and it went belly up as default cache drive got filled. Anyone have similar experiences or have any solutions to it ?
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Hey folks, I came across a neat shortcut today, Shift+V, it selects the clip under your playhead, and makes for handy speed life! I quite often have to reframe shots for the various ratios of modern day life (Social Media for example!) and there are times I trip up and forget to select the clip I need to reframe. Shift V fixes that! Proceeds to Move the playhead, shift V, and reframe! Bliss! Protip: Keybind it to something more useful to your workflow, I feel like I never had this problem in Premiere though, it used to know what clip I wanted somehow and I could just zip through the timeline and reframe as I watched! Maybe I'm mis-remembering but... It felt like this and many other things were swifter! If anyone else has some Quality of Life improvements to share I'm all ears; here's some more: 'x' - Creates In/Out points based on selected clip 'Shift+[/]' Trim start / end to playhead 'Cmd+Shift+[/]' Ripple Trim start/end to playhead (Q/W in Premiere)
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I was working on mastering DCP of a feature through Resolve, I used inbuilt free Kakadu Format. When i went to theatre for DCP preview, it all looks faded and highlights are clipping alot. Some red colors have shifted to green. Plz help me, i need advice on how to master dcp without any color conversion error since the release date is scheduled in 2-3 days.
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Has anyone ever faced issues, while grading where they sometimes push skin tones to lil red or green and later notice that it's not a perfect skin tone. What is the best way to notice these changes and what should be the color of skin tone? I know there is a skin tone indicator in resolve but that never works accurately.
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Hey everybody, I've been running into issues with Resolve crashing when I choose the dual monitor setup while in the color page. Looks like an issue that has been going on with many people. https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=84420 https://forum.blackmagicdesign.com/viewtopic.php?t=51910 https://forum.blackmagicdesign.com/viewtopic.php?t=66034&p=372500 Has anyone had seen this or know of any fixes? People seem to submit logs and then never get a response. It's a new system build, fresh install, fresh everything with latest drivers of everything. -Windows 10 Home 64bit, 64GB RAM - Latest NVidia Drivers (Tried both Creator and Gaming drivers as well as re-installed drivers multiple times) - Resolve 15.3.1 Studio (fresh install and have tried re-installing multiple times). - 2x 1440p Dell GUI monitors (same models and resolution) each connected via display port to the GPU The "workaround" I have been able to achieve is by starting in single monitor, setting display 2 as the primary, then choosing dual screen, then switching back to display 1 as primary. This works fine but either has to be re-applied every time I enter a project or if the dual screen setup stays saved I cannot open a project with both monitors plugged in or it crashes. This is not acceptable at all. If anyone has seen this or figured out a resolution it would be great to hear! Attaching a video screen capture of the problem. Will also try and work with tech support to see of they have any answers but thought I would chat with you all as well. Crash_DualScreen_ColorPage2.mp4
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I found this by Noam Kroll: The Unique Finishing Workflow I Used To Grade, Mix, & Master My Feature Film
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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
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Boris FX is giving away 5 free OFX plug-ins for 360 video post for the month of May. Details found here: https://borisfx.com/products/continuum-units/continuum-vr/ Enables a workflow to reorient, add titles and sharpen on equirectangular mono & stereo footage.
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Hi, I just started grading a few months ago. I was a TV engineer for more then ten years and an amateur photographer. I decided to try something new. Had several commercial projects and decided to make a reel. Most of the material is Alexa XT or mini, some are DSLR footage shot by me. I'd love to know what you think or maybe some tips or critiques.
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Hi. I had interesting and different music video grade in the end of last year. Look wise and story wise it was interesting for me as it is dystopian weird dream. The story said we should get dusty desert feel and soft looks to it. Different from the things that we usually are asked for most of the times. All was shot on Arri Mini with rehoused Lomo set. Graded in DaVinci Resolve Studio in ACEScc colorspace. YT does make wonder to images like always but i can not share it on my profile. Maybe i could give some still frames to look at. Directed and written by TOMM¥ €A$H Produced, Art Directed and Styled by Anna-Lisa Himma Director of Photography: Heiko Sikka Editing: Emeri Abel Colorgrade: Margus Voll, C.S.I. CGI: Denis Strahhov Production design: Anna-Lisa Himma, Anneli Arusaar
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How do you balance/grade using printer lights, and how do you do it in Resolve? This kind of workflow is very new to me, what my mentors taught me is to use LGG for balancing the image, but from the case studies I'm reading here, the authors almost always states that they balance the image by means of using the printer lights and log controls. I would very much love to learn from the experts here, I've been grading for almost 2 years and I know that there is so much to learn. Thanks!
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I'm selling Tangent Element Kit for 2400$. Used about 8 month. It's in pretty good condition. Kazakhstan, Almaty
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Hi everyone, I am trying to display DCI P3 properly on my HP DreamColor Z27x Studio Display. But everything is going purple when I select the colorspace on the screen menu. I can see my windows behind it but I have this Color on the top. (Windows 10) I'm using DaVinci resolve set to DCIP3 and the HP DreamColor Z27x Studio Display. (Colorspace set to DCIP3, 1440p) I have a Nvidia GTX 1080 connected via display port to the screen. ( GA-Z170X-Gaming G1 motherboard compatible with Thunderbolt) Do I need to set something on the graphic card or the screen? Or do I need to buy external hardware like a DeckLink? ( But I need to find one DCIP3 compatible) Thank you very much guys! (The rushes I'm using are from an Arri Alexa in Applepro res 4444 in Log C)
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Hi there guys, Brand new to the forum today. Have a quick question about ACES. I have been working in Post-Production for a few years, but ACES is somewhat new to me. I am grading a Documentary film that is a mix of Sony FS5, Sony FS7, and masses of Archive footage from different sources being delivered in Rec709. The Doc is being graded in P3 in the cinema. Also there will be some exchange of shots with the VFX house. Question: Is there anything that speaks against using an ACES workflow in a situation like this. Not many of my colleagues have used ACES before so if I get in a tight spot, there wouldn't really be anyone who could give me advice. Can anyone see any potential problems? Also: In my understanding, after doing a Cinema grade in P3, to then move over to the HD Mastering, I would just need to swap out the ODT, and do some minor corrections? Am I correct in that? Does the change of ODT also take the gamma change into account? Thanks for any help, Jeffrey
