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  1. Yesterday
  2. If you're going to use the monitor with something like decklink, check if the monitor you're going to buy support 24 fps HDMI input. Not all the monitors do.
  3. EDIT CHALLENGE – 16mm Short Film License Exam #cinestudy #sonnyboo This is my edit for the License Exam Edit Challenge. This is actually the first real project that I have worked on and the first time I have done audio mixing. I'm not 100% happy with the audio mix. I would love to hear your feedback. Thanks for watching! Jim
  4. @Dmitry Lobaskov Let me know! I'd love to beta test as well! I have Baselight Student for mac and the proper Linux one at work.
  5. Last week
  6. Hello, @Travis Ward @mike chapman @Clément Bouchet @Neil Angelo Briones @uong ngoc ! we are hardly working on Windows and Linux versions! will let you know once ready. @Lasse Selvli Baselight are in plans, keep in touch Final Cut version will come soon
  7. This is a fantastic insight. Is there a link to see Dereks's completed grade of this? Thanks!!
  8. thank you! i guess the BMWG was released after the course anyway
  9. This is extremely basic, just watch the Introduction to Fusion training on this site and you will quickly understand how to layer, mask and track for shots like that.
  10. Thank you for response, Do you know any youtube video for that?
  11. Hello First I’m really appreciate it for reading and response to my questions. I’m searching on internet for my very very complicated issue but I can not find any solutions. I shoot with Sony A7 III with the Ninja so I have Apple Prores 442HQ files, 1- I would deliver my project for DCP and D-Cinema and also I would you deliver my project for web or Netflix, Could you please tell me your suggestion? 2- how can I change my setting for realtime playback? With my system and any node just I have 6 Fps. Here I attached some photo about my setting. now i use Mac mini 6c i7 + Razer Core X Chroma + AMD Radeon RX 5600XT with Blackmagic Radeon Pro 580 on MacOs BigSur. Thank you. All the best.
  12. Tobia Montanari Lughi


    I would really love to know that, too!
  13. Aside from ACES and RCM, I didn't cover wide gamut workflows in this course. If we update the course, it might be a good topic to add.
  14. I realize I'm a bit late but I want to throw in my 2 Cents. I have been purchasing from B&H since they first started selling online and have purchased thousands of dollars worth of equipment from them. I have never had an issues with them. In fact I will purchase from them before I purchase from amazon and highly recommend them to anyone. Jim
  15. Can Someone elaborate how Dereks approach under 'deep saturation' applies in Davinci Resolve? Is this a luma vs saturation curve, brought down as a whole? And does this come after the (luma) curve? I don't understand the theory behind this, what is the difference of bringing down 2 stops with the luma vs sat, in stead of a general exposure / offset adjustment?
  16. Earlier
  17. HI. Would like to know if you didi the pull off to the VFX (exported the shots to VFX work) from DaVinci. If so, did you exported already in Proress? And also if you're using some form of color management (RCM or ACES). TO explain.: I didi a job shot on ARRI (proress 4444XQ) where we had to do a collect converting the "raw" midia to also proress 4444, but already trimmed down to the cut for me to work on the color. The VFX, in paralallel, worked on the proress from camera exported while I worked on the "converted" midia. The converted midia was exported to me without any color management, using only the " tag" from the timeiline colorspace while vfx exported to me DPX files (wich dont carry this metadata tag). What we've learned is that (when working with RCM) davici does interpret this tag on the proress files. So, the converted midia was expoted to me with a tag as rec709, and the DPX had no such thing. And problems like you mention arose. My color did not match the VFX files because of this; Davinci was " interpreting": the footage based on the metadata tag on the proress, and we had to come with a workaround applying a LUT file to covert the DPX from VFX from rec709 to P3 (my main mastering colorspace). I know this workflow is the opposite of what you have, but to pay attention that when Resolve exports proress files, it "really" interprets the tag on the proress . So there is kind of " colorspace conversion" when you do this, (exporting proress from DaVinci) when, i my opinion, there should be none. If the tag is difernt from the colorspace of the file you're working,, you will have mismatch problems. Maybe the VFX file is tagged in this manner. But this only applies when you use some sort of Color Management. If you only use de " DaVinci YRGB colorspace, you should not have this problem. Hope i was clear enough....
  18. Prices vary enormously between versions. For an OFX version of Continuum, an annual licence is only $146 (in the Black Friday sale), whereas for Avid it's $371. Seems like good value to get the plugins for Resolve and probably more useful in a finishing system. A new permanent licence seems to be about four times an annual. Even then, I think you have to pay an upgrade cost once your first year of free upgrades is up. With an annual licence, you can always get the latest version. Whatever you decide, their Black Friday sale (up to 50% off) is ending very soon!
  19. I'm considering buying or renting one of the Boris FX products, but not sure if it will be good value for money to pay more for a new license than going for an annual subscription. On a general basis, would you own a software today when computer tech are going forward in this pace. Will it be outdated in a year or two anyways? Thoughts?
  20. Thanks Luca, I was tempted by that extra inches too, I appreciate your help!
  21. Good evening to all and patience with lock 2.Here is a video in autumn colors atLefki village of Kavala city at Greece with the Tenere xt660z.Bridges, ravines, plane trees, alleys and deserted housesat the end of the walk ..Here is the video with a few photos at the end:
  22. Hi Chris, I enjoyed your class, but I also was perplexed as to how you went about compressing the highlights in lesson 4. Could you elaborate on that? Thanks!
  23. Chris Jacobson, I really enjoyed watching this masterclass. Thank you so much!
  24. I don't know if this helps in any way but I bought this BenQ several years ago as my second screen for GUI:
  25. Go with the BENQ PD3200P (but BenQ states on their website that it's end of life, to be replaced by this one:
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