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  1. Today
  2. I didn´t mind watching this course the first time. It exceded my expectations, really. Now editing is more simple. Thanks!
  3. Last week
  4. I have just finished coloring a drama episode and the editor delivered an AAF for a shorter version of the same episode that I have to adjust. I have no experience with these things and need to take care of the conform myself this time. How do I do this the fastest way?
  5. On the low luma compression technique, on the third node, for some reason when I pull the lower black point on the curve right, it doesn't stretch the waveform like the example, it sort of compresses it. Any ideas? Thanks!
  6. Yes it is.... short of internet failure, I will be there....
  7. It’s true. Darren Mostyn is promoting Walter Volpatto Colorist Masterclass - 10% DISCOUNT. Hope to see some of you there.
  8. Found the answer. Create a folder in laptop called Database. Leave it empty. Once created copy over the contents into the folder. Restart Davinci Resolve, you will be prompted to upgrade database.
  9. Somehow when I tried to follow along the 1st lesson to Create Database, after selecting the folder, it says "please create an empty folder for the new database" I'm using Resolve 17.1.1
  10. Yeah gentleman, seems they have increased it. Now its for $79. But I don't mind paying.
  11. Earlier I hear from someone that there are live tutorials / grading sessions that colorist do on Lowepost and some of them are already posted here. However I cannot find the link to the page. Is is possible that I haven't purchases premium so they are not showing the link? Because I just want to take a look and make sure I am not missing it. I will go ahead and purchase premium.
  12. @Samuel Holdridge Thank you Sam, that's interesting! @Anton Meleshkevich Hi Anton and thanks for your detailed comment! What you say about YRGB is interesting and if it's the only way to work on the footage in linear fashion then it's a no brainer... I thought that in YRGB changing the timeline color space didn't change anything as when you do, your footage looks the same. Or does it? And basically what I read about it is that if you want to change your export's gamma, you do need to add a CST Timeline node to convert it. Thanks a lot for your input! Douglas
  13. Hey people, I'm happy to announce the new refurbish program for Tangent's Element panels 🙂 ! For many users, the panel's surface has become worn down and/or sticky over the years. What we're doing here is to take the panel completely apart, remove the old soft coating and re-lacquer it with a deep black fine-structured powder coat, which should take a couple of ages to wear down again 🙂 . The look & feel is pretty similar to the Blackmagic panels, if you have come across those. Anyways - here is the link and below are a couple of pictures to check out. ==> ht
  14. RCM has a lot of bugs. I think the best is to stay in DaVinci YRGB and to set timeline colorspace according to your source footage. So for alexa source files you set timeline colorspace to Alexa LogC. So HDR pallete works as it should. And Global now behaves like WB in RAW (Gain in linear LMS) or like chromatic adaptation plugin. And for mixed cameras I'd use Color Space Transform effect. I use ACEScct timeline color space. And DCTL as IDT and ODT (it's works faster than ACES Transform effect). And global wheel behaves the same. The main reason why I use ACES is it's amazing gamu
  15. Horizontal width should be about 30-40 degrees of your field of vision.
  16. Chromatic adaptation plugin is a RGB gain multiply operation in linear gamma and in one of LMS color spaces you can choose from. This is the same tool as temp and tint in RAW, except for LMS, which is probably different and specific for particular sensor in RAW.
  17. If you're working in Resolve add splitter combiner node (alt + Y) and add grain to third channel which should be Blue if you didn't change node color space
  18. Hey Douglas, I have also been working in Davinci wide gamut a lot myself lately and have been running into the same issue. I dont know if this will help but this has been my solution thus far, not sure if its entirely correct but I have had good results and more control over my images. I just keep my color space in rec709 and use a cst to convert my image into DWG so that i still have control over the log image since i find it comes in with something crushed from time to time. Like i said im not sure if this is right and if someone has a better workflow for DWG please respond LOL i would
  19. Earlier
  20. Yes. It's worth the subscription. Deep diving into color grading and color management techniques, including an intensive workflow in ACES. The only missing piece I'm missing there is working in HDR workflow.
  21. Hi everyone! I've been experimenting with RCM and Davinci Wide Gamut and really enjoy it so far! However I like to do my White Balance adjustment using printer lights to the log space of the image. When I work with Prores, RCM cannot detect which camera the footage has been shot on, so I can balance the footage in the log space. However when I work from the Raw or the native camera file, Davinci will convert the footage to Rec709 2.4 (set as my output color space). And that seems to be how my footage is inputed in Resolve. In RCM workflow, How do you balance you
  22. Hi people, this tutorial is purely about the SCRATCH timeline (called 'CONstruct' back in the day). What many do not know: It has 3 dimensions 😉 . Once you understand how it works, it can be a huge time saver and organizational help. Cheers, Mazze
  23. I think I need to do this training four more times but I am really thankful this is out there and happy to be a member here. Thank you, Lee and Lowe!
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