This stream auto-updates
- Last week
-
Great course.
-
Hello, I'm going to do some color grading work outside my company and the client has a 27" QHD OLED monitor (2560 x 1440) for reference. I'll be working on 2 projects, one of them in 1080p (FHD) and the other in 2160p (UHD). Currently Davinci doesn't have a QHD monitoring output. The computer is using a Decklink mini monitor 4K via HDMI. What can I do? Thanks!
-
I have a question that needs to be resolved. I currently use a Decklink Mini 4K monitor with my reference monitor via the HDMI port, but I would like to have this image on an LG TV for my clients. How can I do this? Thank you!
- Earlier
-
Masterclass in Color Grading with Mark Todd Osborne
Mustafa Rumey commented on Lowepost's course in Color Grading Masterclasses
Thanks you for sharing ! -
I am excited about this tutorial. However, I found that the footage folder is missing from the project file zip. Can you help me with it?
-
Introduction to visual effects in DaVinci Resolve Fusion
Jatin Soni commented on Lowepost's course in Introduction
Hello, Thank you for the course! I'm eager to learn Fusion, but I need assistance with importing and setting up the database in DaVinci Resolve 19. All projects aren't importing, as demonstrated in your video. Could you please assist me? -
FilmLight Colour Awards reveal 2024 winners Six colourists crowned 2024 winners as the art of colour grading is celebrated at EnergeCAMERIMAGE 2024 The winners of the 2024 FilmLight Colour Awards were announced on Sunday, 17 November at a dedicated ceremony at EnergaCAMERIMAGE in Poland. The ceremony was opened by director and 2024 ‘Guest of Honour’, George Miller, before the awards were presented by this year’s jury president, cinematographer Mandy Walker, AM, ASC, ACS. “On behalf of our immensely talented jury, I would like to congratulate the winners of the 2024 FilmLight Colour Awards,” commented Walker. “Each artist has shown a resonant point of view into how we can both view and reflect the world on our screen. It is brilliant to celebrate how different colourists can collaborate to shape different projects. Colour is a universal language, and it has been our honour to celebrate the vivid brilliance of creatives from all over the world. From stark dramatic imagery to lush vibrancy and everything in between, we are forever inspired and excited to see what is to come.” Theatrical Feature Dune: Part Two – graded by David Cole at FotoKem Furiosa: A Mad Max Saga – graded by Eric Whipp at alter ego WINNER: Poor Things – graded by Greg Fisher at Company 3 Saltburn – graded by Matt Wallach at Company 3 TV Series / Episodic Eric (season 1, episode 1) – graded by Toby Tomkins at Harbor Expats (season 1) – graded by Seth Ricart at RCO Griselda (season 1) – graded by Ian Vertovec at Light Iron WINNER: The Zweiflers (season 1) – graded by freelance colourist, Manuel Portschy Commercial Air Canada, Ticket to Dream – graded by Wade Odlum at alter ego McDonald’s, We the (In)visible – graded by freelance colourist, Manuel Portschy Riyadh Season: Crawford Vs Madrimov, Everything Or Nothing – graded by Philip Hambi at The Mill WINNER: Zara, SS24 STUDIO COLLECTION – graded by Tim Masick at Company 3 Music Video WINNER: Brodka x Igo, Myślę sobie Ż – graded by freelance colourist, Nadia Khairat Gomez Kaismos, Sailed – graded by Sylvain Canaux at Saint Louis Nettspend, Nothing Like Uuu – graded by freelance colourist, Brian Charles Shake Stew, Lila – graded by freelance colourist, Manuel Portschy Spotlight Asleep in My Palm – graded by freelance colourist, Andrew Ceen WINNER: La Espera (The Wait) – graded by Raúl Lavado Verdú at Misterio Color Lab Showdown at the Grand – graded by colourist, Asa Fox The Featherweight – graded by Sam Daley at Light Iron Yurt – graded by freelance colourist, Pascal Nowak at Cosmodigital Emerging Talent WINNER : Baltic, Harmonical Diffraction – graded by freelance colourist, Douglas Dutton NBA, Everyone's Game, DC – graded by freelance colourist, Ryan Urzi Nike Mexico, Piérdelo Todo, Gánalo Todo – graded by Stephanie Park at Rare Medium Woolworths, Brand Reset – graded by freelance colourist, Terry Simpson For more information on the awards, visit: www.filmlightcolourawards.com ###
-
Tiffen Black Pro Mist in davinci resolve
Omar alshalali replied to ahmed abdelmaged's topic in DaVinci Resolve
watch this may help you -
can anyone tell how can can I make this filter on davinci resolve
-
This course focuses on developing a thorough understanding of color distribution in DaVinci Resolve. You will get a deeper understanding of how the main color correctors works through the study of the scopes and color viewers. It's also useful for colorists who want to effectively analyze and manipulate color within Fusion's powerful framework. The footage used in this course is available for download. Download project files About the instructor Lee Lanier has created visual effects on numerous features films for Walt Disney Studios and PDI/DreamWorks. Lee is a world-renowned expert in the video effects field, and has written several popular high-end software books, and taught at the Gnomon School of Visual Effects in Hollywood. Who is this course designed for? DaVinci Resolve users Compositors Finishing artists Lessons overview 01: Order of events 02: Understanding color viewers and color distribution 03: How color controls affect color attributes in Fusion 04: The color viewers in the color module 05: HDR in Fusion and color controls 06: Introduction to the HDR Wheels -
Course description Learn proven strategies and take your color grading game to the next level. The DaVinci Resolve Master Tips course is uncovering the nitty-gritty technical details and insider knowledge, and will take your color grading game to new heights. You will learn techniques, shortcuts, little-known tricks and strategies that will empower you to work more efficiently, inspire, and give you more freedom to focus on your creative expression. The course is designed for intermediate to advanced users who possess a strong foundation in Resolve, and is particularly valuable for colorists working on feature films and TV dramas as it offers tailored insights to meet their specific needs. Don’t miss out on this opportunity to push the boundaries of your craft on your journey towards mastering the art of color grading. About the instructor The instructor is Dylan R. Hopkin, a renowned senior colorist from one of Europe’s leading post-production houses – Nordisk Film Shortcut Oslo. Hopkin brings a wealth of industry expertise to the table, boasting an impressive resume of feature films and TV dramas. Additionally, he brings extensive experience as an instructor, having taught color grading at advanced levels in several prestigious international film schools. Hopkin is a Certified DaVinci Resolve Trainer. Course content Lesson 01: Stay Structured Lesson 02: Smart Navigation Lesson 03: Complex Versioning Lesson 04: The Viewer Lesson 05: Still Hack Lesson 06: Tracking data and attributes Lesson 07: Essential nodes Lesson 08: Complex Key Setup Lesson 09: Miscellaneous tools Lesson 10: Post Group Tools
-
Thank you, Bruno. First, sorry for the delayed reply. I was busy with some production. I will have a look at the video. Thanks a gain.
-
I think you're talking about a DCTL that can set middle gray? Cullen Kelly has a free Exposure Chart DCTL. He explains all this YouTube video which also provides links to download the DCTL
-
FilmLight Colour Awards reveals 2024 nominees Jury selects 25 nominees across six categories – winners to be announced at EnergaCAMERIMAGE on 17 November LONDON — 17 October 2024: FilmLight has revealed the nominees for the 2024 FilmLight Colour Awards. In their fourth year, the awards attracted over 500 entries from 46 countries across the globe and the independent jury of cinematographers, colourists and creatives have now revealed the names of the 25 colourists shortlisted across the six categories. Ahead of casting their final votes, the 2024 jury gathered to discuss the entries. During the discussion, George Miller, 2024 Jury Guest of Honour, talked to Jury President, Mandy Walker, and other jurors, about his evolving relationship with colour. “For the films I work on, we tend to get the colourist involved early,” says Miller. “The biggest problem, I think, is that visual effects can be so widespread – with people from all over the planet working on it. With this, there’s a risk of losing cohesion, and the colourist is the nexus of all these interactions. This is why I am so excited to be doing this and seeing all the wonderful work that is being completed across so many different platforms and media – it is a very significant moment and one that will develop even more.” This year’s nominees for the award for the grading of a Theatrical Feature are: Dune: Part Two – graded by David Cole at FotoKem Furiosa: A Mad Max Saga – graded by Eric Whipp at alter ego Poor Things – graded by Greg Fisher at Company 3 Saltburn – graded by Matt Wallach at Company 3 In the TV Series / Episodic category, the nominees are: Eric (season 1, episode 1) – graded by Toby Tomkins at Harbor Expats (season 1) – graded by Seth Ricart at RCO Griselda (season 1) – graded by Ian Vertovec at Light Iron The Zweiflers (season 1) – graded by freelance colourist, Manuel Portschy In the Commercial category, the judges chose: Air Canada, Ticket to Dream – graded by Wade Odlum at alter ego McDonald’s, We the (In)visible – graded by freelance colourist, Manuel Portschy Riyadh Season: Crawford Vs Madrimov, Everything Or Nothing – graded by Philip Hambi at The Mill Zara, SS24 STUDIO COLLECTION – graded by Tim Masick at Company 3 For the Music Video category, the judges selected: Brodka x Igo, Myślę sobie Ż – graded by freelance colourist, Nadia Khairat Gomez Kaismos, Sailed – graded by Sylvain Canaux at Saint Louis Nettspend, Nothing Like Uuu – graded by freelance colourist, Brian Charles Shake Stew, Lila – graded by freelance colourist, Manuel Portschy The Spotlight award aims to recognise the unsung talents in the industry. For this category, the nominees are: Asleep in My Palm – graded by freelance colourist, Andrew Ceen La Espera (The Wait) – graded by Raúl Lavado Verdú at Misterio Color Lab Showdown at the Grand – graded by colourist, Asa Fox The Featherweight – graded by Sam Daley at Light Iron Yurt – graded by freelance colourist, Pascal Nowak at Cosmodigital New for 2024, the Emerging Talent award celebrates the work of young colourists (age 18-35). For this category, the nominees are: Baltic, Harmonical Diffraction – graded by freelance colourist, Douglas Dutton NBA, Everyone's Game, DC – graded by freelance colourist, Ryan Urzi Nike Mexico, Piérdelo Todo, Gánalo Todo – graded by Stephanie Park at Rare Medium Woolworths, Brand Reset – graded by freelance colourist, Terry Simpson This year’s winners will be announced at the annual FilmLight Colour Awards ceremony, taking place at EnergaCAMERIMAGE in Poland on 17 November 2024. The FilmLight Colour Awards are led and organised by FilmLight in conjunction with EnergaCAMERIMAGE. They are supported by prominent international groups such as: AFC (French Society of Cinematographers), AMC (Mexican Society of Cinematographers), ASC (American Society of Cinematographers), BSC (British Society of Cinematographers), BVK (German Society of Cinematographers), CNSC (Chinese Society of Cinematographers), CSI (Colorist Society International), Imago (the International Federation of Cinematographers), ISC (Indian Society of Cinematographers), PSC (Polish Society of Cinematographers), ShotDeck and more. For more information on the awards, visit: www.filmlightcolourawards.com
-
Hello Folks, It may seem odd, but I can't seem to find black & white color bars or a LUT assistant anywhere online. If it's a technical term, I'm not familiar with it. Can someone help me know by another with this?
-
Look Development & Workflow in DaVinci Resolve
Jatin Soni commented on Lowepost's course in The Art of Color Grading
I like the course, but it seems you are using a mini or advanced panel, so it is hard to follow along with you. Most of the time, you do not switch wheels or explicitly mention which wheel you are modifying. Also, when you use the panel, the mouse is not visible, and so I cannot target the area you are working on. -
Color Management Workflow in DaVinci Resolve
Jatin Soni commented on Sjors Krebbeks's course in Color Grading
This is an amazing course. It provides a detailed understanding of how RCM works and is managed. However, many aspects of the course are not related to the latest version of DaVinci Resolve 19. For instance, the Gamut lesson does not have any effect; in fact, it damages the preview by adding the Gamut node to the Fusion tree. It seems that BMD has corrected or fixed the issue. Can you please review all the chapters and update the course? It would be a great help and add value to it. -
Hi there Cullen, I was playing around with your techniques from lecture 2 in resolve.... I just have a a few questions about it. first off what is the link to the grade assist? I went to the raven grade website and it wasn't clear where I could find that particular thing without buying a package..? 2) I tried to adjust contract your way (luminosity) and found that my vectorscope didn't stay put after turning off and on.... could this because of how far I adjusted it? large increments rather then very small? Note: I tried to do this on an already dull image (monochrome). This was also not using a lut first. Thanks,
-
Dehancer Colourist Awards 2024 is well underway so here's a reminder of the important moments you don’t want to miss in the competition. Submissions are open until December 16, 2024, so make sure to send in your work before the deadline. The shortlist will be revealed on February 10, 2025, with the awards ceremony on March 10, 2025. To participate simply hit the ‘Enter Now' button and complete the submission form on our website: https://www.dehancer.com/awards/2024
-
Look Development & Workflow in DaVinci Resolve
Jason Bowdach commented on Lowepost's course in The Art of Color Grading
When using this method for organization, I recommend placing the IDT camera transform at the pre-clip group level, so it would stay consistent for the entire group. We're only moving from camera space to working color space (DWG or ACES usually) so we actually want it to be identical for every clip of the same camera type. Next, within the clip node tree, we can adjust each clip on an individual bases as needed in terms of exposure, contrast, saturation, etc. For other creative elements, you can use the post-clip, timeline node levels, or even adjustment layers for your scene level adjustments. Hope that helps! -
And this one: A new training series is just around the corner! We've been working day and night to bring you a fresh new look for Lowepost, and we'll be back to posting more regularly very soon.
-
This is the last tutorial/course
-
Am I wrong, or has it been a while since any tutorials on DaVinci Resolve have been published?
-
Look Development & Workflow in DaVinci Resolve
Emily Leishman commented on Lowepost's course in The Art of Color Grading
Hello Jason, I've done a lot of study on Film Looks most recently and this is the first video I have seen someone use Grouped clips to apply these transforms, grain etc.... great idea! However can you still group clips and select only one clip for the 'colourspace transform' to be applied? and not the whole group? ( say if there there was a section) within the whole show/TVC etc? or would you need to apply seperate from the group and just group others without the old film looks? In other words, can you still manipulate each shot within a group separately? or, when looking at the node graphs; you see some grouped clips ( with all the same adjustments) and a number of single clips with differences... like a film transform, a window, a custom fusion effect? Sorry if you go through this down the track .... i'm just starting on your film look video. Thanks. -
The difference between DNxHR and ProRes codecs
Nicholas Zimmerman commented on Sjors Krebbeks's insider article in Workflow
I’m not sure which facilities are using Windows Resolve and abandoning ProRes, but that has not been my experience in Hollywood. I regularly have to deliver at least some ProRes deliverables for features and TV, but have never been required to deliver a DNx deliverable of any kind. About the only time I ever make a DNx is as a conform check file for editorial.
