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  1. Today
  2. Sjors Krebbeks
    Thanks for letting us know, it's fixed now 🙂
  3. Lee Lanier
    The button seems to be dead. I will let the website manager know.
  4. rakeshr
    I don't know why but im not able to download the project files for this course.
  5. Yesterday
  6. Frank Wylie
    That is really difficult to judge from this monitor; I can see some tendency toward warmth within the lighter values but still can pick-out pure whites. If there is an overall warm cast, it can be "pierced" at a certain luma level with pure white. Maybe the highlights have a roll-off of red toward clip on a curves adjustment? Again, not judging from the best monitor possible, so just guessing...
  7. lewis jacobs
    Would you say theres magenta in the highlights?
  8. lewis jacobs
    Thanks, good information!
  9. Frank Wylie
    Just my 2 cents... To my eyes, it has a color pallet that is equally-split between Ektachrome 100D/Fujicolor Provia 100 reversal , but with well managed highlights, avoiding clip and retaining detail. Blacks tend toward crushing at the extreme, all colors appear to be destaturated, but reds are desaturated a bit more with a tiny shift to magenta and overall exposure is well below clip. Looks like a lot of very delicate qualification work has been done on faces and specific background details to enforce the look; I don't see a generic LUT being able to encompass the entire ambie
  10. lewis jacobs
    Hows the vid on node trees coming along? I'm looking forward to it
  11. Adéyẹmi
    Hi guys, is there someway to make my LUT batch export from Davinci get labeled according to the timeline TC in of the respective shots, as opposed to shot number. Can I change the label attributes? Thanks
  12. Last week
  13. lewis jacobs
    I recently watched the new TV series called "the north water" and loved the look of it. I'd like to try and recreate it and wondered if any experienced colourists could advise me on how to achieve the look. Il try and add a pic or two but otherwise checkout the trailer on YouTube
  14. Attila Somos 01
    For sale: ARRI SR3 with exposure meter ARRI SR3 Film web cover ARRI SR3 Battery clip-on adapter ARRI BP-6 Bridge Plate for 19mm Rods ARRI SR3 eyepice ARRI SR3 IVS (PAL) ARRI SR3 IVS Videohandle ARRI Camera Handgrip right anatomically ( Run/Stop) 16000GBP ARRI Adjustable plate lower part ARRI HE-3 Heatable eyecup ARRI KC-27-S Cable for heatable eyecup ARRI KC-27-S Cable for heatable eyecup ARRI SR3 120m/400ft Magazin with TC ARRI SR3 120m/400ft Magazin with TC ARRI SR3 120m/400ft Magazin with TC ARRI SR3 Loop protection ARR
  15. Earlier
  16. Adéyẹmi
    Lucidlink is the best I know. Very efficient. https://www.lucidlink.com/download/ Its a virtual server basically.
  17. AARYAMAN KUTTY
    Thanks! I shall look into this. At the moment it seems like an FTP server is the bet i guess. Yeah upload speeds are really sporadic here as well. Its a really painful process.
  18. ANNE
    https://www.thomann.de/fr/blackmagic_design_davinci_resolve_mini_panel.htm
  19. Bruno Mansi
    Sohonet seems popular with high-end post houses here in London UK. One of the issues with any online storage is decent upload speeds. Many ADSL broadband connections have abysmal upload speeds. Sending 300 GB when your upload speed tops out at a couple of Mbps is going to be painful!
  20. AARYAMAN KUTTY
    Hi, lovely people of the forum. First post here. What's your go to software or online app that you use for a back and forth of massive file sizes? With the pandemic and working remotely more a norm was wondering what the industry standard is. Specially when it comes to sending RAW footage or massive 4K DPX sequences. Just finished a commercial where the client wanted 4k 10BIT DPX sequences for the entire spot, which came up to about over 300 GB of data that i had to send back. Since it was a compositing job they were insistent on DPX and not ProRess 444 files. First time having dealt
  21. Anfisa Zelentsova
    Beyond the visible and creative. That's how we would describe Dehancer False Colors plugin for DaVinci Resolve that you can get for FREE! Here’s why False Colors is a cool tool: Great instrument for technical image control; Emphasises some details that otherwise aren't visible to a human eye; Can help to examine and adjust the exposure; Especially useful in filmmaking; Reveals invisible patterns; Useful for adjusting skin tone exposure. To download the plugin, go to our website to the “Download & Buy” section: https://www.dehancer.com/store
  22. Anfisa Zelentsova
    Hello guys, Just wanted to let you know that new update is available on Dehancer. Dehancer 4.1.0: Fixed issues with Windows accounts containing non-latin characters Fixed hardware uid activation error Numerous optimisations for better performance and lower memory consumption Attention: After this update your license will be re-activated automatically. In case of any errors please contact Dehancer support via mail@dehancer.com
  23. Lee Lanier
    That depends on the shot, but for a 2D extension you would probably need to create a larger domain for the extended set with a tool like Crop, motion track the extension art with the Tracker, and then re-crop the final result to the final render size.
  24. Alessandro Cannarozzi
    Cool tutorial! How can I do a set extension in Resolve?
  25. Douglas Dutton
    Thank you so much for your anwser Marc, I will definitly check it out! Many thanks Douglas
  26. Douglas Dutton
    Hi Marc! Thank you so much for your anwser! Such a pleasure to read you, I saw you rencently in the Learn with Masters Masterclass and really loved your input! Actually having seen the lowepost masterclass on colour management and double checked the resolve manual, the only mention of OOTF that i found is this one. And unfortunatly could'nt find any explanation on what these 2 options do and when they should be used. (Apply forward OOTF / Apply Inverse OOTF in the Color Space Transform OFX). Many thanks for your reply Douglas
  27. Marc Wielage
    One thing you can do: highlight the clips, then right-click and select "Bypass Color Management." Then, using a Color Space Transform OFX plug-in, you can drop it into the first node and tell it what kind of camera made the ProRes file. I can't guarantee this will work every time, since it's possible when the ProRes was made, some kind of change or adjustment will happen, but it can work. Experiment with different settings and see if this gets you to a closer starting point. I should acknowledge Joey D'Anna of MixingLight for coming up with this "Roll Your Own" color management idea, whic
  28. Marc Wielage
    We have a tutorial on Fixed Node Trees now being worked on (literally as we speak), and I hope to have it done within the month. No promises, but it will give you about a dozen examples of different node trees you can use, explains the thought process behind each one, and also will explain how to build a Fixed Node Tree from scratch. One key is to understand the Image Processing Order of Operations. This is such an important topic, it's given its own chapter in the Resolve manual, Chapter 141, starting on p. 2806. The point is to understand how one node will affect the nodes coming after
  29. Marc Wielage
    Chapter 8 of the v17 manual, "Data Levels, Color Management, and ACES" (starting on p. 181), does at least mention OOTF. There's a course here on Lowepost that covers Resolve Color management in detail:
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