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  1. Yesterday
  2. I just tested it using 16. No problems. There are, however, differences between the Stroke brush or Multistroke brush. The Stroke brush paths can be manipulated individually, but last the entire timeline. The Multistroke brush paths only last one frame but cannot be manipulated individually.
  3. I am working in Davinci 16. 1.2 I am following one of your Davinci 15 tutorials (lesson 29 and 30), in fusion I have noticed some problems and differences between Davinci 15 and 16. We can not isolate the strokes like you have in 15. Are we doing something wrong? Also, how do you finish paint cloning part way through a clip instead of going through to the end of the clip? Thanks, Leo
  4. I wonder not very much is talked about Nuke Studio and Nuke integration. I know there is plugin that runs inside Nuke as "view lut" but not much mentioning about it in Nuke Studio in similar ways like in Avid and Flame timeline. Ideally we would see all VFX side done in Nuke and Nuke Studio holding it together and BL being as mastering tool just showing up on Nuke and Nuke Studio as needed. Would it be possible to cover this side of workflow a bit more?
  5. Last week
  6. Jim Bracher, Senior Colourist at Youngster in London, is joined by VFX Artist Robin McGloin to showcase their collaboration on recent projects. https://vimeo.com/391271883
  7. You will have to change input color space to match the camera, in your case the Sony. The timeline color space can still be Arri Log C because you don't want your controls to behave different each time you're working with a new camera format.
  8. Thank you so much! But this is not applicable if the project has different cameras, such as A7s right?
  9. The input color space should be set to the camera color space which in this case is Alexa Log C because Alexa footage is used in the example. When it comes to the timeline color space in general, it only affects the "feel" of the controls, so it's purely a matter of taste. From our understanding Alexa Log C is definitely the most common timeline color space used in the professional world and especially among Baselight users.
  10. Hi guys! I need to improve my career and as there aren't a lot of opportunities in the country I live, I've been wondering if any of you recommend a new place to start over. I've been doing editing for 8 years and grading since 2014. Any tip for applying overseas or about where to move? Thank you in advance.
  11. From my understanding, AP0 is an archival space with a larger gamut. In contrast, AP1 is designed for grading and VFX work with a gamut more closely related to Rec 2020.
  12. Just below the ACES Output Device Transform in Resolve's color management section, there's an option to 'Process Node Luts in' either ACEScc AP1 Timeline Space or ACES AP0 Linear. Working in ACEScct, I believe I should set it to the AP1 Timeline Space. However, I met different opinions, and since I'm new to ACES, I'm a bit confused. It would be great if someone could throw some light on this part. Thanks!
  13. No, sorry, the Polygon tool would be an alternative masking choice. For paint cloning, you have to stick with the options that come with the Paint tool.
  14. Hi Lee, Thanks for your response. I am confused about your suggestion of using the Polygon tool. Can I use the polygon tool you suggest with cloning in paint? What are the exact steps to clone an image in paint using the polygon tool ? Hope to hear from you soon. Many thanks, Leo
  15. Hello, thank you for this lessons! It's really helpful! Quick question though, what's the point of changing your timeline color space in Lesson 13, to Alexa? Is there a benefit for it? For the longest time I haven't touched the timeline color space in DaVinci YRGB color science. Is this still the workflow most professionals use in DaVinci Resolve? How would you do this in an ACES Managed workflow. Thank you so much!
  16. Sorry for the late reply... The Rectangle tool does not provide a means to rotate the shape, or add a soft edge. If those things are required, it might be better to use a different masking process (such as a Polygon tool). The left eye requires the same steps as the right eye. I really just repeated the process.
  17. As long as the transcoded files (I assume as MXF OP Atom) are at 50fps, you'll get the option to run them at 25fps (as I mentioned previously) or at 50fps (ie as Slomo). You simply change the Playback Rates setting in Source Settings. If you're running them as slomos, I assume you're not going to need to sync sound?
  18. Thanks Bruno! What if I want to keep it 50fps, but edit in a 25fps project? I normally transcode in Resolve, copy the transcoded files into the Avid media folder and drag the database files into the bin. I can do it the same way?
  19. When you bring material into Avid which has a different frame rate to the project, it will automatically get a temporal adapter added to it, so that it plays at the correct speed for your project. In your case, this will be exactly a 2X speed change, You can see this if you bring up the motion effect parameter for these clips. You can inspect the temporal adapter settings for your 50fps clips in Source Settings. You should be able to sync your sound as normal.
  20. Amazing course! I have watched all the color grading courses online and this is definitely the best! I have to say loud that I think the "advanced" and "insider" color courses out there are nothing else than pure crap. It's indie guys without any theoretical or practical understanding of color theory experimenting with sending the color wheels in all directions without a purpose, destroying the images and creating useless looks nobody wants to see. I have seen tons of that crap and I know I will never use a penny on one of those sites ever again. I also want to say that I received the "colorist newsletter" today from some of the same guys and this course wasn't mentioned once. Even though all the buzz it has created in the colorist community and how extremely well it has been received by many of the colorists on the very top. Go figure. Thanks for creating this course and all the other high quality courses on the site. I will stand by your side with my support and I hope the rest of the community will too.
  21. The DOP shot clips in 50fps (slow) but the edit will be done in 25fps with most of the clips in 25fps. 1. How can I change the rate to 25fps pr clip (not on timeline)? Because I want to edit directly from bin and have it all in 25fps. 2. How do we match audio on set in this case? Recorded on an external device.
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