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Chroma Keying in DaVinci Resolve Fusion
Edward Plowright commented on Lowepost's course in Compositing
Hi there, I am trying to go through the tutorial on Clean Plate + Delta Keyer. My footage is poorly lit, if there is a better method please advise. The main issue is, no matter what footage I use, once I add the Clean Plate - all is wiped from the screen, not just the green area. Please advise if I am doing something wrong. Many thanks.
- Yesterday
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Hi Andy, Thanks for your detailed answers. Yes we've tried the client view with our producers and clients, it's very handy for them to go through the timeline without interrupt colourist. Can't wait to use the upcoming remote grading function with our DIT department. Nice work filmlight! Thank you Andy!
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Hello everyone, Just went through a company internal training program and someone has a question about fl-remote icon within the daylight folder. It looks like to connect to a certain host and doing some remote grading. Since mainly we are using the Linux baselight and has no knowledge about any remote grading especially for daylight. Does anyone has any experience with it? Thanks! 😀
- Last week
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Yup, Studio version here as I also own a BMPCC 6K. Will check those boxes and test :). -
No prob! Also, assuming you're running Resolve Studio and not the free version, under Preferences > System > General make sure that you have "Use 10-bit precision in viewers if available" and "Use Mac display profiles for viewers" both checked. Then as mentioned, with project output colour space set to Rec.709-A and the Rec.709-A tag for the gamma on the delivery page I've avoided the gamma shift in Quicktime/Frame.io/Vimeo. Everything has looked consistent everywhere I play it back. -
THANKS Matthew! 🤗
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Hey Guys, We recently got an LG C2 calibrated to Rec.709 and then did a tiny adjustment to a Pro Display XDR that we have (originally bought for offline editing). With the Pro Display in the BT.709 preset and the output colour space in Resolve set to Rec.709-A, to eye it's a perfect match to the C2 (accounting for the fact the Pro Display is an LCD, so blacks/shadows not quite as deep). I also have an M1 Max MacBook Pro and everything I've looked at is pretty consistent between it and the Pro Display. There's definitely some bloom in deep shadows depending on what content you're displaying, but that's to be expected for the tech. Also I've noticed the backlight zones don't always keep pace perfectly with the LCD and can go slightly out of sync when there are quick flashes from near black to bright white which produces a momentary green flash. Those caveats aside, it seems pretty accurate to me, so in a pinch when you're on the road or if you can't afford a BMD Ultrastudio, OLED, & calibration set up yet it seems like the best option for grading off a built-in monitor. I'm sure there are folks with far more expertise and experience who would disagree with me, but that's my two cents. Cheers, Matthew Edit: the calibration on the TV was a 5000 patch 3D LUT calibration by a dedicated pro with a Klein colorimeter, not just me with a cheap probe. So I have a high degree of faith in the accuracy of the LG.
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Wondering the same! My internet search led me here, but haven't found a good answer yet. I'm traveling and don't have access to my Flanders Scientific at the moment, just and MB Pro M1 Max. - Earlier
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Hi, my name is Julian. Based in The Netherlands.
Most recently I have been working as a Freelance Post Producer and CGI producer.
My post production knowledge originates from my experience as an online editor and motion designer and spans over 30 years, in commercials, feature film, television series and corporate content.
I am a member of Lowepost to learn more about color grading. Weapon of choice is Resolve.
Thanks for having me!
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Hi all, Recently I got the new MB Pro M1 Max and am using it for my photography and video editing work. No color critical work work here, just a huge desire to properly learn image mastering workflows, so I was wondering: how accurate, if at all, are the Apple display presets (BT.709, P3, ...); when mastering for web, should I switch my display fro Apple XDR to BT.709, dim the room and master like so; If the second answer is yes, meaning I should switch to BT.709, how would I handle the issue where most smartphones and tablets increasingly implement some flavor of P3 color space? I am struggling to make things look decent on my Macbook, iPhone 12 Pro Max and an older TV from the early 2010's. Many thanks for any tips! :) (P.S. I am somewhat educated on the proper worflows and pipelines - I religiously follow Cullen kelly's work but am unsure of how to approach using the Apple hardware. Possibly an external BlackMagic card with a ref. monitor would be the way to go, but for now unfortunately, out of budget)
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I have a lightly used Tangent Wave 2 in its original box available, since I've found that I just don't use it much. Asking: $650. I'm based in Vancouver, BC. Thanks!
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- SOLD - Selling this fully refurbished Tangent Element Black Edition. All fascias have been replaced with powder coated ones, incl. new display windows. It features the Angry Face Black Metal Rings and dark-petrol metallic trackerballs. Also the knobs on the Kb-panel have been swapped against custom black rubber knobs. Included is original packaging, set of link pins and (non-original) USB cables. Price is 2.250€ (excl. VAT). Location is in Munich, Germany - shipping EU-wide. Feel free to PM me here or through the contact form here: https://www.angry-face.com/contact/ Cheers! Mazze
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Hi Darren, yes, that is what I would recommend. Cheers, Andy -
Wow, thanks for all the insight Mason. I apologize for my tardy reply as I've been off the grid for a few weeks. I will talk to my camera guy about switching to EI as soon as possible and meanwhile, Andy, I guess I will treat the footage as I would REC 709 and do my initial adjustment in Film Grade as I find that to be the best starting point. Unless you had a wiser idea. Once again, thanks for all the help and I will also be sure to check out Alister Chapman's page. Best, Darren -
I'm a year late at doing the tutorial for Lowepost, but here's a big node tree we came up for a project recently. Normally, about 90% of these are bypassed, and we only turn a node on when we need it, so be aware this illustration is not a practical shot of how it works in real life. But it'll give you some ideas: Note for beginners: I absolutely do not believe that you need a crazy/ridiculous/large number of nodes to do a project. In truth, 4-5 nodes do all the heavy lifting -- the rest is just icing on the cake. Sometimes, there's just no time (like if you have to do 500 shots in 8-10 hours), so you have to get by with maybe 6-7 nodes, tops, and just fly through as fast as you can. I average maybe 18-22 nodes on each shot per project, and on features it's the exact same node tree on every shot. That way, for one sequence -- say, 20 shots in a kitchen -- we do a global and copy everything over, then go in and make little trims so that it all matches. All nodes are labeled so if somebody else has to take over the project or do work later on, they'll understand the signal path and decisions made. I hope to have more to say about this for Stig in the future, so hang in there.
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Hi friends, this tutorial uses Play Pro Studio, but obviously, the format support is the same for SCRATCH and all other products. Cool thing is that we also support lens dostortion and vignetting metadata with our implementation 🙂 . Cheers! Mazze
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The ultimate guide to color grading monitors
rob trombino commented on Lowepost's insider article in Color Grading
The Asus Proart models PA32UCG/UCX/UCR for HDR grading are truly surprisingly good. I was very pleasantly relieved and gratified at how good mine is when I plugged it in and fired it up. They all use the same 10bit, quantum dot, FALD mini led panel. Deep blacks, big color volume, really good coverage of P3/REC2020, and are conservatively rated for their maximum nit rating. And of course, no burn-in!! Are they Netflix approved? No. Will they ever be? Unlikely. All I can say is don't pass up taking a look at these simply because of that. Netflix isn't the only game in town. Cheers! -
Thanks for your insight, Mason. Yeah, I assume that S-Log2 / Rec.709 should be the matching input colour space. And the cinema matrix is a creative tweak, that desaturates the image. So the starting point should be a desaturated image with proper contrast.
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I hope you don't mind if I pipe in, but as an FS7 user, I can say that the Custom mode of the camera in any sort of matrix is 709 colorspace, and seeing above, you have the Gamma in SLOG2. The transforms in camera are just custom color matrix transformations similar to an internal LUT. For some reason Sony made the Custom mode base colorspace SGamut and SLOG2, even when you use SLOG3, the Gamut stays as SGamut, not SGamut3 or .cine. When the matrix setting is applied, it transforms from SGamut to REC709. I noticed you stayed in SLOG2 as the Gamma, which is fine. Grading the footage should be treated like any 709 footage you've used in the past. There's no real LUT adjustment for using this setting, but is supposed to be a kind of in camera WDR setting, allowing you to grade however you'd like, it's a messy implementation, and definitely based on past grading methods for video and REC709 delivery for TV. As far as using CINE EI, you can monitor on the camera any LUT you have loaded in, or use any flavor of the built in MLUTs. In the monitor section of the menu, you have SDI 1, SDI 2, HDMI, and Viewfinder. My normal setting it turning SDI 1 to off, since that will bake the LUT into the file, set SDI 2 to on, and it will affect your waveform to conform to 709 and show exposure with the any LUT adjustment you may have chosen, and set the Viewfinder to ON so the LUT can be viewed on the viewfinder. Any footage shot using this method with be whatever Gamma and Gamut you choose, and be clean, with no baked in looks, but also allow anyone on set to see the look on the viewfinder. Also, a good idea is to use any external monitor with whatever LUT you want to the camera can use the CINE EI setting without any issues. I've stayed away from using Custom mode for the last 7 years because the ability to work with the footage in post is problematic. Any other info you may want to learn about working with the FS7, look up Alister Chapman's page, he's got tons of info on there. -
Professional Color Grading Techniques in DaVinci Resolve
hanyoung yu commented on Lowepost's course in The Art of Color Grading
Hello! is there any english subtitle? -
Thanks Tom for the correction!
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Hey Tom, Thanks for your response. The reason I am using a cst is because non of those luts include a rec709 transform so I would need to transform again from the luts output to rec709. Mainly wondering if there was a favorable color space to transform out of based on what’s provided in that lut pack.
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Looks great Randy, but you can skip the four top nodes. The components are there to turn a technical transform curve into a film style curve. You do not need that because it’a built into the LUT at the end of your stack.
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Jonathan, the LUTs have the transform built into them so there is no need for using a CST at the end. Just follow the steps in the post and use the LUT at the end.
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I do not get any image on my external monitor and also do not get any thumbnails in the timeline when I have the ultrastudio (which baselight does see) as an output device. When I switch output device to use UI the image and the timeline thumbnails appear. The weird part is when I use blackmagic device and I open the flux manager the text "FLUX MANAGER" appear on my external monitor. The external monitor also flashes when the software is loading. I'm on the latest version of Baselight look and BMD desktop video. Any ideas?
