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  1. 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,
  2. 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.
  3. 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.
  4. 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,
  5. Hi! I'm a junior colorist working here in the Philippines, working for almost 2 years. I would love to know how you guys color grade your alexa footage. Looking at the Oscar's nominated films, most of it were shot using Alexa Mini, XT, and 65, and it looks damn amazing. My grades with the alexa looks subpar compared to these films, is it the contrast, the lighting, the workflow, the production design, etc. Here is my workflow: I balance out the image first,then grade it, and lastly client's and director's nitpicks. Still, I feel like it looks video-y, compared to what I see in foreign films and commercials. Thanks!
  6. 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. 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
  7. I found this by Noam Kroll: The Unique Finishing Workflow I Used To Grade, Mix, & Master My Feature Film
  8. 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: Images used in this tutorial: image courtesy of Marta Colpani: Noir Shadows and Highlights with DaVinci Resolve-HD.mp4
  9. Boris FX is giving away 5 free OFX plug-ins for 360 video post for the month of May. Details found here: Enables a workflow to reorient, add titles and sharpen on equirectangular mono & stereo footage.
  10. 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$H Produced, Art Directed and Styled by Anna-Lisa Himma Director of Photography: Heiko Sikka Editing: Emeri Abel Colorgrade: Margus Voll, C.S.I. CGI: Denis Strahhov Production design: Anna-Lisa Himma, Anneli Arusaar
  11. How do you balance/grade using printer lights, and how do you do it in Resolve? This kind of workflow is very new to me, what my mentors taught me is to use LGG for balancing the image, but from the case studies I'm reading here, the authors almost always states that they balance the image by means of using the printer lights and log controls. I would very much love to learn from the experts here, I've been grading for almost 2 years and I know that there is so much to learn. Thanks!
  12. I found photoshop hue control (hue/saturation) affects image differently compared to Davinci one. How can I get similar to photoshop hue control results using Davinci Resolve hue control?
  13. I'm selling Tangent Element Kit for 2400$. Used about 8 month. It's in pretty good condition. Kazakhstan, Almaty
  14. 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)
  15. 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
  16. Hi. Have not posted long time here but now i feel to need to spread some words on my digital desktop. I wonder if anyone has lately some experience on subject? I'm doing one job now where 90% is VFX in one way or another and now i do all the versioning manually. Sure we could set up fusion connect to all of this but we have not done this yet. Probably will test with next job. As all VFX come from post house using mainly Nuke then it would be reasonable to have a go on Generations but as there is not much information about it at the moment floating it got me wondering if it would help me at all? Any ideas or experiences would be helpful. Maybe i'm also barking under wrong tree and should go with some other grading platform that would connect better to Nuke or Nuke Studio? Ideally i would like at tool that would plug in to Nuke somehow or Fusion in that matter but non of this seems to exist now or possibly i'm missing it somehow. There has been a link for video that describes this clever way of getting Nuke to render directly to Resolve timeline as Fusion connect asset but i can ot find that video now. The basic concept was that nuke could render to pre set folder structure that had version number in file or folder name and in Resolve those would pop up as new asses on premade place. So in that way it is really doable it seems. One thing that comes to mind is that way would not update external matte and would still need some manual hand holding but all other aspects would be covered like versioning from shot to shot. Sure BM has long way to go on that matter i would say. I'm not really keen to go with Nuke Studio for now. I i'm really hoping that i could one day grade on the VFX assets directly somehow in one way or the other. Now it is done either layering or external mattes which also works but not that super fine as i would like it to be. I have done both commercials and features that are really vfx heavy and in a way it is a mess every time if you do it manually. Sure it is not that super bad but annoying still. My vfx house was nice in that sense that all the naming and lengths and color science were spot on and clean. Then again i come to another matter. RED settings in nuke is another layer of things you have to manage if you do not render out plates yourself. We will see if aces will make that part better for us next time. All the ideas pointers and discussions are very welcome here on the topic despite the origin doing it in Resolve.
  17. Hi. How does the subject seem to Resolve users here ?
  18. I just finished grading BELDONA: summer 2017 «Escape» for Cheese & Chocolate Film. Yet again good example how remote work is done in simple way. This spot is produced in Switzerland, shot in Mexico, edited in Switzerland, post and grading done here in Estonia and final delivery to Switzerland again. director: Sven Wedekind director of photography: Daniel Kunz grading: Margus Voll, C.S.I. Shot with RED Epic. Graded in DaVinci Resolve Studio 12.5.5 with ACEScc.
  19. 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.
  20. Hello, everyone. I'm a Ravensbourne student currently studying Editing and Post Production. As I'm in my final year, I'm currently in the process of writing my dissertation, which mainly investigates how advancements in digital technologies have expanded the creative capabilities of a colourist. If any of you have time, I would love it if you could answer some of the questions I've added below. These answers will definitely help expand/reconsider/polish a lot of the points I've already made. You do not need to answer them all, but if you could answer as many as you can I would really appreciate it. Additionally, if you have any interesting points you'd like to add, or want to suggest any more questions, do not hesitate to let me know. My email is Why do you think colour is such an important tool in filmmaking? Why do you think black and white was not enough? Do you think being colourist is primarily a technical or creative role? Where do you see the future of colour grading headed? What are some of the new technologies/tools that the industry has to start to consider looking into? What do you think makes colour grading an art in itself? What is your opinion on HDR? What are your opinion on LUTS As third-party plugins for NLE and colour correction software becomes more user-friendly, making it easier for anyone to learn and apply colour grading into their work, why do you think a colourist will still be relevant in 5 years time?
  21. director: Sven Wedekind director of photography: Daniel Kunz grading: Margus Voll, C.S.I. Beldona lingerie fashion spring spot i graded is just out. See all the new trends and feel the warmth in spring weather slowly coming. Shot with RED Epic. Graded it in ACES with Resolve studio and delivered full camera original resolution to client in 5k. Did all that on my brand new win 10 box and not a xeon one but i7.
  22. Director: Helen Takkin Producer: Kadi Freja Felt Cinematographer: Meelis Veeremets E.S.C Color Grade: Margus Voll, C.S.I. Graded this spot for local telco christmas campaign. Shot on Scarlet. Arial Inspire 1 raw.
  23. I wonder if anyone has used subject for gui on Resolve? I know it is a bit ridiculous for resolve but i have other things also in mind like Fusion for that station and lare display would be good there just not sure how well Resolve would handle it. Native resolution is 3840 x 1600. Two issues i would see is curved panel and rather large dimensions and one has to think where to put video monitor and scopes. Any ideas i wold be grateful.
  24. It is time to feel beautiful before xmas. I just finished another version of Beldona fashion spot / short. It is hard work and someone has to do it like soma say. It was shot on RED Epic some time in August in Switzerland. Graded it in Resolve 12.5 with some Neat Video and some glow etc. I clearly need better machine for jobs like this. Model has some digital makeup also done in Resolve. With more beefy machine it would be better to go on detail for that but i hope in this case it is sufficient.
  25. Client: Eesti Energia Director: Helen Takkin Producer: Kadi Freja Felt Cinematographer: Meelis Veeremets Editor: Johannes Arro Color Grade: Margus Voll, C.S.I.