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  1. Yesterday
  2. You would use the resolve day sky in a commercial? I'm talking about building a scene with using all the tools that a green screen makes possible. For example the scene with the pillars. There you could have changed the BG, showing how to use tracking marks, keying so that there are no green/blue fringes and coloring it so that it looks real and not fake etc.
  3. Perhaps by Real World I think he means shots that are difficult to key like a whole figure on a slightly messy green floor. I certainly would have liked to see that
  4. What are you talking about, all the shots are real world examples. I recognize several all of them from quite big commercials aired in my country.
  5. Great course. Tho a short real world example/tutorial would have been nice. But I'm asking myself why I should use the chroma or ultra keyer when the delta keyer gives a MUCH better result? It seems to me that with chroma/ultra keyer the results always looks amateurish and fake. Am I missing something or how do you get convincing results here? Thanks.
  6. We are pleased to announce the release of DaVinci Resolve Studio 16.2.4 which improves performance and addresses a few issues based on customer feedback. Thank you for your feedback and especially to those who have the preferences option to auto report issues and check for updates.This is a no charge update for existing customers who can download this release from our support page.https://www.blackmagicdesign.com/support/family/davinci-resolve-and-fusionWe recommend that you back up all active databases and current projects before upgrading to this release and encourage you to update your systems to v16.2.4.What's new in DaVinci Resolve Studio 16.2.4• Support for Blackmagic RAW SDK 1.8.• Improved debayering support for EOS-1D X Mark III and EOS R5 raw clips.• Improved syncing of playhead between timeline and viewer in the sync bin.• Improved tone mapping behavior when performing wipes in HDR projects.• Improved Kakadu JPEG 2000 decode performance on Linux and Windows.• Addressed an issue with cropping the upper track in some scenarios.• Addressed an issue with removing freeze frames in retimed clips.• Addressed an issue with adjusting volume on a multi-track audio clip.• Addressed an issue with saving the project after moving audio keyframes.• Addressed an issue with waveform displays when scrolling the timeline.• Addressed an issue with audio waveforms in sync bin and sync clip.• Addressed an issue with resetting the MediaIn node in the inspector.• Addressed an issue with trimming still images in the Fusion keyframes panel.• Addressed an issue with flashing alpha on EXR clips with Fusion comps.• Addressed a preview issue with aux channels and combiner nodes.• Addressed an issue with slower renders for custom tools..• Addressed an issue with gradient modifiers applied on color controls.• Multiple performance and stability improvements.
  7. Last week
  8. Many thanks again, Sean! I will study this. You have been a great help!
  9. No problem, if you want to stick with what the DPs setting were on set you can keep camera metadata. But depending on the needs of your grade, you will most likely want to change the setting to the advised profile for each camera type, to take full advantage of the RAW profile. Once you change the RAW settings to Project, set your color management, you will also want to scroll to the bottom and check all the boxes for camera metadata. This will keep all the ISO, Temp, Exposure settings the DP set. These are typically only changes you will want to make clip to clip. Which you can access in the color tab.
  10. Thank you, Sean. I don't really work with RAW footage, typically only DPX or TIFF files from scans, so I am trying to wrap my head around the wilderness of camera origination formats.
  11. What you set in the project RAW settings will work for multiple cameras. So you can set for example ARRI Raw, RED r3ds, and Blackmagic RAW setting and it will work throughout the project. By default the Camera metadata setting are off at the bottom of RAW settings, I would make sure these are on, until you need to tweak and individual clip.
  12. OK, I think I might have a better way to ask the question: Do the Project Settings -> Camera Raw -> Raw Profile profiles reflect the default interpretation values of DaVinci Resolve for all supported RAW file types? If so, I would assume you would then be able to customize each one within a project and save them for any/all listed RAW formats or is only one type active at a time? If you did this upfront, would this take care of automatically applying CTLs to any defined RAW footage?
  13. Thank you, Michael. I will have to study this for a while!
  14. I deal with this in one of two ways: 1. Create a Group for each unique RAW needed, then use Pre-Clip Group suit. Can use different LUTs on Group basis, but Pre-Clip RAW parameters don't affect Pre-Clip group and there is not a Pre-Clip option among Project, Clip, Camera Metadata 2. Use Versions, which do encapsulate RAW parameters. If you have multiple clips from same camera using same RAW interpretation, this is a winner.
  15. Lee, Thank you for this tutorial! I have a question about using multiple flavors of RAW footage in the same project. In the RAW settings dialog box in Project Settings, is it only capable of defining ONE variety of RAW per project color space, or are all RAW flavors in the pull down menu active and can multiple CTLs be defined within the project using this menu? How would you handle, say, 3 different cameras shooting different brands of RAW? Thank you!
  16. Amazing great stuff ,plz make a course on HDR doly vision for Netflix (master out) or amzon etc
  17. New one with John Daro is coming in August.
  18. I couldnt understand the part of piping a key downstream How the offset changes makes a difference in selecting the key? is it because they were in opposite directions?
  19. Earlier
  20. And it's me again. Kevin, in the first CutPage lesson you dragndrop a music into the media pool and its already lowered in gain. How did you do that? In an external programm, or is there an audio-import setting where the audio gain is lowered automatically? best
  21. Hey Abby, my question was a little misleading. I'm aware how to create multicam clips. I wanted to know if there is same kind of batch function, because I have a feature project shot with zwo cameras, so there are a lot of takes and scenes. And if I'd have to pick the corresponding clips for each take, it'll take ages. I think the multicam course is quite fresh online, isn't it? I will for sure have a look. cheers Sebastian
  22. Did you see the new multicam course? It goes deep into most aspects of multicam.
  23. @Abby Bader Totally missed that! Thanks so much!
  24. So excited for this course - any update on release date?
  25. Slight update here: We will have Thatcher Kelley from www.setstream.io with us tomorrow, showing multi-cam live streaming through this new platform. It's gonna be pretty awesome 🙂 .
  26. It’s really a matter of what gets you to your destination. However, there's and advantage to using a color space transform as it gives you more control and you aren’t locked or bows on by the fixed nature of a LUT. CST vs the camera’s official log to Rec.709 LUT will be a bit different, though you may prefer one over the other visually, neither is absolute. Resolves CST is quite flexibility and can be dialed in (sat and luminance mapping,) however, an alternate method is to roll your own log to Rec.709 conversion using your grading tools.
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