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Found 5 results

  1. Hi All, I recently jumped on the upgrade to Resolve 18.1 to get the new features and performance improvements on my M1 Max machine. One thing that has changed, which I find really annoying, is when you enable the wipe in the viewer on the color page, it only seems to give you the option of loading saved stills into the wipe. In previous versions I would often right-click in the viewer and change the Reference Wipe Mode from Gallery to Offline so I could quickly compare my grade to the offline reference (or sometimes I'd load a previous render to compare with). Since upgrading to 18.1 I can't find a way to change the Reference Wipe Mode. Is this something that has gone away completely now? Or is it just hiding somewhere obscure that I've just not found yet? Any insights would be really helpful! Cheers, Matthew
  2. In need of desperate help. I have a project that was done in 1:1 aspect ratio where I did a lot of retouching work on a bunch of clips. I now have to copy the work that I did in the 1:1 project on all the clips to the clips in a 16:9 aspect ratio. Is this possible without redoing all of the work that I have done? When I copy the nodes from the 1:1 project and place them in the 16:9 project clips, the sizing is off and I'm not sure how to adjust so that the paint work fits and work on the new 16:9 aspect ratio. I've tried transforms but it just changes the entire image.
  3. Hi Im working on a facility with a Christhie DCI Projector, well calibrated, and I need to "manage" often two masters (either for streaming, TV, rec709 to be short) and DCI-P3 color space for DIgital cinema projection, My project consists of one camera only (Alexa) so I choose the right IDT for that and the ODT for the P3-DCI for the project on the right "channel" at the Chrisite. But when I output to the rec 709 ( projector set to deliver rec709 at gamma 2.2 ) the colors look much different (yes, I do change my ODT for rec709 at this time). The difference im seeing is the lack of gammut between the DCI and the rec? it seems to drastic to me. Any advie or thoughts? p.s.: dont like ACEScc... still I can bring much mor infromation on blacks if manually wornking on th elog file... but this is another topic) p,s,2: The difference is the same if I choose the RCM on Resolve, when I use the input to camera, time line to camera color workspace and output to the right color space. The differece doesn't exist if I bypass the input camera, put the timeline to P3 (the biggest gammut) and change the output to desired color space. Then I see no diference.
  4. Earlier I hear from someone that there are live tutorials / grading sessions that colorist do on Lowepost and some of them are already posted here. However I cannot find the link to the page. Is is possible that I haven't purchases premium so they are not showing the link? Because I just want to take a look and make sure I am not missing it. I will go ahead and purchase premium.
  5. Here is my latest work for a beer commercial. Shot on Arri Mini and graded in Resolve Studio 12.5.5 in ACEScc. Last products shots have some external mattes from Mocha Pro to get more precision in masks.