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  1. Today
  2. Plz give me some suggestions and tips for a feature Film black and white grade...
  3. No problem - let us know how far you got 😉 .
  4. Thank you @Mazze Sorry for the late reply (deadlines!). I'll check the video, I'm sure I'll manage to make it work the way I want it to be done! 😉 Geoff
  5. Yesterday
  6. Thanks Lowepost, this is exactly what I've been waiting for. Happy to wait another month for this. Thanks all. Really appreciate all these great courses. Learnt so much.
  7. is this class just be announced and the lessons are not online yet? I can't see the videos on the page cheers, Orash
  8. Last week
  9. Hi Binh. We are working on a course in color grading and it will be released next month.
  10. Do you know if it's possible to mark two points on the custom curve and move them simultaneously with the arrow keys on the keyboard? Em
  11. Thanks a lot Kevin. When are you going to have a color course for DR?
  12. This course will be released in February! This course provides colorists with an in-depth overview of professional color grading techniques and look creation in DaVinci Resolve 16. The main concepts discussed in the course are advanced contrast management, balancing techniques and look development. The focus is primarily on higher end color grading, color theory and teaching techniques that took professional colorists years of experience to master. The course is presented by Kevin P. McAuliffe but is created together with professional colorists that have contributed with insight about their work methods. Kevin uses DaVinci Resolve 16, but it is taught with the goal of showing techniques that can be used in any color corrector. The footage and assets used in this course are available for download so that you can easily follow along. Our members will also get a free sample of 35mm film grain from our friends over at Cinegrain. Download project files COURSE OVERVIEW LESSON 01: S-CURVE MANIPULATION The curve is the key component of contrast creation, and in the first lesson we look at different ways to understand and shape the curve. LESSON 02: CORRECTIONS IN LOG SPACE AND GAMMA SPACE Understanding how brightness affects the curve in log space and gamma space. LESSON 03: COMPRESSION TECHNIQUES We look at disturbing the luma vs. distance ratio of the curve with compression techniques to challenge the contrast and create a printed look. LESSON 04: PRINTER LIGHTS FUNDAMENTALS Looking at printer lights and understanding the importance of them. LESSON 05: PRINTER LIGHTS WORKFLOW Using printer lights in a log workflow. LESSON 06: BALANCING TECHNIQUES Analyzing and matching shots with the help of printer lights, eyes and scopes. LESSON 07: HIGHLIGHT RECOVERY Going through different ways to recover highlights and working with a specular node to add realism in flat light. LESSON 08: BOUNCING TO CREATE LOOKS Boucing desaturated colors and creating moody looks. LESSON 09: UNDERSTANDING COLOR HARMONY We will bring back colors to create color separation and work with analogous colors to create color harmony with the curves. LESSON 10: USEFUL LOOK TECHNIQUES Bouncing in pastel tones, blocking blacks and making thin whites thicker. LESSON 11: COLOR CHANNEL MIXING TO CREATE UNIQUE LOOKS Creating modern and cold looks with channel mixing and opacity control. LESSON 12: GRIT AND TEXTURE Bouncing luma controls agains each other to bring out texture, creating silver tints and looking at different ways to sharpen edges. LESSON 13: NODE COLOR MIXING A look at mixing colors to create new colors and controlling the strength of the individual colors to create unique looks. LESSON 14: PIPING A KEY DOWNSTREAM Working with separate streams and color transforms to pipe super clean keys. LESSON 15: SOFTENING Going through edge soft techniques. LESSON 16: CREATING SATURATED LOOKS Creating a soft interesting look with varying hue strengths. LESSON 17: GRAIN TECHNIQUES Adding texture with 35mm grain and using different techniques to enhance the structure of the grain. Thanks to Julien Alary, Douglas Delaney, Dylan Hopkin, Tyler Roth, Henri Pulla, Nikola Stefanovic, Alastor Arnold, John Daro, Paul Dore, Florian "Utsi" Martin and David Cole for contributing to this course.
  13. Hi Nick, Wow. thanks. I found it. need to hover. yep. Got it. thanks.
  14. Bottom right, it's a cross and it says "fullscreen" if you hoover the mouse over it.
  15. The L01: Project Manager video cannot be maximize the screen. There is no maximize screen button so the video is so small.
  16. I'm afraid you've learnt the hard way that you should never delete your original camera files. Storage is so cheap nowadays that you could have easily backed up your rushes to a portable/external hard drive before you freed up the space on your camera and laptop. Most professional outfits make multiple backup copies in case a particular backup should fail. You never know when these backups will be needed - possibly corrupted media or a re-edit some months (or even years) later. I'm not sure why you deleted all copies of your camera rushes if you still needed them - maybe you thought you wouldn't need them again after you'd finished editing and outputted your the final edit to a movie file. The recovery software that Emily mentioned relies on the fact that when files are 'permanently' deleted, all that's really deleted is the index to those files on the hard disk or camera card. It's possible to recover these files with the right software, but the problem is that by removing the index to your files means that the space used by these files is then available to be re-written by any other program. It's possible that some portions of the old files remain, but the longer you use the computer, the more likely the chance these files will be overwritten. If you haven't used your camera (cards?) since you deleted the rushes, there's much more chance that you can completely recover your files.
  17. Earlier
  18. i permanently deleted them from my camera and my laptop so i can film the next part and transfer the next part . it was taking up space ... i dont have copies anywhere.. i have been trying to recover from the recycling bin tried so many things after downloading its not even showing my deleted files...
  19. Let me know if there is any specific test or benchmark you want me to check.
  20. That should definitely do it! I'm looking for the exact same setup as you and I'm quite happy to hear that it serves you well. I can't wait to finally get rid of the old z820 that has been bugging me for years. Any chance to insert normal HDD disks or is that something that belongs to the past?
  21. You can always get a R4i but I have no idea what performance we are looking at. I don't really need external sharing at the moment so internal would be fine. Looking at the above option including the Sonnet M2 solution it would give me 2TB SSD (Mac Pro) + 8TB SSD (Sonnet) + a RAID5 Promise R4i 24TB. This backed up to an external 36TB storage as well as off-site + cloud. That should do it. I'm open for any and all suggestions of course! What system are you considering @Nicolas Hanson?
  22. Thanks Michael, I can't wait to get rid of my old system! Do you need external sharing or can you load it with internal HDD's?
  23. Yes, very happy! Just in need for a better monitor (for GUI). I did consider the XDR, but I'm no longer looking at it. Curious about the ASUS ones, tempted by the EIZO CG319x but no clear choices right now. As for storage my older Promise Pegasus is the bottleneck in the system. So considering a Sonnet m2 PCI card for 4x 2TB SSDs from WD paired with an external storage via 10Gbit Ethernet. Not sure here. At the moment the single Vega II 32GB does the job very well. Realtime performance with my 5K R3D footage, very fast renders in pretty much all the work that I do. I would considering adding another card further down the line when I will notice that the system would feel better with a speed bump. Posted some Standard Candle tests earlier: MacPro 20193,2 GHz 16-Core Intel Xeon W48 GB 2933 MHz DDR41x AMD Radeon Pro Vega II 32 GB Resolve using the original file attached with the project in a 1080 timeline. (Some people are starting to test this with R3D files as well as in other resolutions, so results may vary, will post this as well later on. 09 Blur Nodes - 24fps (60 @ 60fps)18 Blur Nodes - 24fps (60 @ 60fps)30 Blur Nodes - 24fps (40 @ 60fps)66 Blur Nodes - 18fps (18 @ 60fps)01 TNR Node - 24fps (60 @ 60fps)02 TNR Nodes - 24fps (60 @ 60fps)04 TNR Nodes - 24fps (39 @ 60fps)06 TNR Nodes - 24fps (28 @ 60fps) You can get discounts if you spend (too much) a lot of money on Apple products. 🙂
  24. And how did you get the discount? And no need for an extra graphic card except what you listed above?
  25. Michael, are you happy with your setup? Good performance?
  26. Bruno Mansi

    Mac + NLE

    Seems like a good spec for a laptop so I'm sure it would be fine to run Avid. If you don't need all the features of the latest 2019 version, you could install an earlier stable version, which would probably run more smoothly. Most modern laptops seem to be able to handle 4K , especially if you're using a half resolution display mode, but will struggle once you start loading up the effects on the timeline. This is especially true once the CPU/GPU start running hot and the laptop can't dissipate the heat fast enough. Not sure with Premiere since I don't really use it, but GPU performance is much more important than it is with Avid. I know they removed earlier versions from the Adobe downloads because of a dispute with Dolby, so you'll need to try it out. Does your laptop really have 512 GB RAM?
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