This stream auto-updates
- Yesterday
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Hey! So I made a social media lower third but when i put it into a higher resolution time line the logo doesnt scale like the rest of the macro does. I am using SVG files for the Logo but still have this problem. Does anyone have any clue how to fix this?
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Colour on Stage: Eric Weidt Creating the unique look for ’Mindhunter’ In this video, Eric Weidt talks about his collaboration with director David Fincher – from defining the workflow to creating the look and feel of ‘Mindhunter’. Eric will break down scenes and run through colour grading details of the masterful crime thriller:
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Abby, thank you very much!
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Just looked intro to BL for Avid on FilmLight page and got intrigued a bit. What i mean is usually i get edit from avid and the thing that was mentioned in the end "see grade while editing" is the case some times it would make sense to Harness. My goal would be to learn that workflow and practice some BL on top seems like good idea to me. Am i missing something here or is there just conform bit that is different? Another part would be to allow to do something that would be usable in the end one way or the other that seems to me not possible with student ? (i also always run out of student time frame when i can do something meaningful)
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Do you have any idea how to fix this issue? I am using SVG files
- Last week
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great lessons
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It depends. Many colorists balance with offsets and use the skin tones as a guideline for when the balance is good. But in theory, any secondary applies on top of a balanced shot because it usually means going in working with details or parts of the image and that's better done when the whole image sits where it should. Not to complicate things: Balance all your shots in your sequence with offsets. Try to get your skin tones where you want them while balancing. When the balance is good on all shots, then go in and work with details.
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Thank you Abby and Dan! I meant, for example doing skintone correction is best, when your whole scene is already balanced and all shots are matched? Or you doing balance (primary color correction) of individual shots of the scene, then make secondary on a hero shot, and then try to match other shots to the hero shot (with corrected skin)?
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Normally, secondary corrections happen after the initial balance. An important reason for this is that the results of the corrections will match better between shots if the underlying shots are balanced. Setting up a first pass that works for your film before diving into complex and time-consuming secondary tasks, is also critical if you run out of time. That said, it's quite common to pull secondary keys etc from the source or layers/nodes prior to the balance.
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All sorted thanks Lee. Great tutorial by the way. Thanks
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After and usually in parallel nodes (If you're making multiple secondary adjustments) so that you don't accidentally undo the hardwork you've just done further in the node tree. Woud be interesting if somebody potentially has a interesting counter method.
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my client recorded in red RAW 4K and edited in resolve using proxies. should she reconnect ('relink'?) to the RAW files and then media manage>entire project>copy only used media, then upload to me for grading in resolve? or is there a smoother way? the cource doesn't go far into collaboration scenarios
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my client recorded in red raw 4K and edited in resolve using proxies. should she reconnect ('relink'?) and then media manage>entire project>copy only used media, then upload to me for grading in resolve? or is there a smoother way?
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I used both techniques on a real one shot feature film (1h 30min) a couple of years ago. Using a predefined node tree with enough nodes to adjust to different places in the grade helps a lot to not get lost during the process.
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Hello, everyone! Do you do your secondary color correction before, or after matching the shots? Thanks. Alex
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The reason why i need to use crossfade beause the camera was panning from one to another set and the lighting was yellow, then our client wanted to changed it to be natural light.
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Less CPU / storage bandwidth intensive and no need to switch between color and edit rooms for transition timing adjustments. Also it can be useful to keep the same edit list from begining to finish for edit or vfx roundtrips. Actually I'm talking about long clips with exposure / color balance changes. If I would have to grade 15 min one-take film, I'd definitely use crossfades as well as keyframes.
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The grade looks fine either on the Cm-250/iphones/ipads... the issue is that the black bars have lost their 100% black, and that makes the Dop crazy Ok so here comes my missunderstanding, I've always thought that Davinci ignores the bars... It hasn't been until this job that we pushed the blacks a little bit more than usual that the Dop complained about the stills (because of subtle grey black bars). I didn't try this option because of the misunderstanding explained before, will go this way from now on. Thanks Orash
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Scene Referred or Display Referred Grading?
Anton Meleshkevich replied to Virgil Edward's topic in DaVinci Resolve
When (or 'if') blackmagic finally fix a bug with node colorspace and node gamma in ACES, this will be possible to do just using one node and node colorspace/gamma settings. -
Any specific reason?
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I prefer to use keyframes instead of crossfades.
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Cache location change does not save or remembered.
Margus Voll replied to Margus Voll's topic in DaVinci Resolve
Oh i was hoping it was fixed in 16. -
Cache location change does not save or remembered.
Anton Meleshkevich replied to Margus Voll's topic in DaVinci Resolve
I have the same thing. Resolve 16.1 -
Hi David there are few things that should be known before giving a proper answer. the only thing contaminated are the black bars or does the image looks more contrasty on your display? a quick things that come in mind is, when the image are desqueeze, the black bars you see are black to start with, but if you really push the level you see that behave like they are part of the image, so if you "pollute" the black with a color cast or the blacks are lifted also the bars will be The solution would be to blank the frame using output sizing or timeline blanking that if there are not other problems that I can't see with the info we have.
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Hi there So maybe I guess this is a known issue but I can´t figure out why is happening at all, no sense to me. Importing Open Gate 3424x2202 Anamorphic footage into a 1080 timeline and desqueezing, so, obviously black bars appear up and down. Grading in a Fsi Cm-250 trough BM minimonitor, the black bars are black, really black, no doubt. But when I import JPG stills and see them in the phone, screen, iPads... it seems like the black bars are contamined by the grading, so they're not pure black anymore, and the DP complaints, I would too... Why is this happening, its so annoying.
