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  1. Yesterday
  2. Sadly that author work using panel (not mouse) hard to understand what he did or what tool he using right now(
  3. Last week
  4. Thanks! That's a good tip. I'll try that.
  5. Arri Log C to Rec 709 and then create an offset node with some global adjustments for better matching?
  6. Earlier
  7. I actually figured it out Thanks
  8. PROFESSIONAL COLOR GRADING TECHNIQUES IN DAVINCI RESOLVE Instructor KEVIN P. MCAULIFFE is using the scope in the image I attached. How do I access this scope? It doesn't show up at all. I'm using Davinci Resolve 16
  9. Hi, Did you ever resolve this as I am having the same issues?
  10. Hi! We're making a music video for marketing purposes, where we have rec 709 ISO's from a sports broadcasting production bus witch we want to integrate with story elements shot on Arri LF. Doing a color space transform is mandatory, but does anyone have a good strategy for welcoming the rather good sport images with log-c images? Thanks, Leon
  11. Have a look at this tutorial by Darren Mostyn, where he does a sky replacement. Although he generates his matte using qualifiers, you should be able to adapt it for your external matte.
  12. Add. Cyan in one node then add a serial node and make the yellow adjustment. This is assuming they are on the same color wheel (shadow, midtones or highlights, etc)
  13. Very nice. On the look example you add cyan and Yellow saturation separatly. How do you do that in Resolve?
  14. Enjoying the course, Jason. I'm curious if you think there is any value in colour managing or using a LUT to go to say REC709 when working on a black and white film, or if it's more advantageous to just stay in LOG applying some of the methods you describe using the different colour channels? My concern is that by staying in LOG, I can't separate the colours as well and hence play with the B&W tonality as accurately? Thanks!
  15. Hi Tom, thanks for the reply. So, I am receiving the final comp with the foreground and background applied, and an external matte to affect only the background. The issue is, when I bring the comp to the timeline and apply the CST, CDL and LUT from the client, everything is affected, therefore I'm working on the external matte already with some changes. I was wondering if, with this files I have (final comp and ext. matte) I would be able to work on the background without being affected by the CST and etc.
  16. So you have two files right, one with the background and one with the foreground? And the foreground video file has alpha channels? if that's so, just bring both the files in and stack the foreground shot on top of the background in your timeline. Or did they provide you with the final comp shot and an external matte? More info please.
  17. Following a hugely successful debut in 2021, nominations are now being invited for the FilmLight Colour Awards 2022. This year’s awards, which will again be presented at EnergaCAMERIMAGE in November, include a new category celebrating the work of colourists on lower budget, independent and international features. Watch the 2022 trailer for the Colour Awards: https://vimeo.com/698617437 And read full details on the categories, entry rules and the jury on our website: https://www.filmlightcolourawards.com
  18. Following a hugely successful debut in 2021, nominations are now being invited for the FilmLight Colour Awards 2022. This year’s awards, which will again be presented at EnergaCAMERIMAGE in November, include a new category celebrating the work of colourists on lower budget, independent and international features. Watch the 2022 trailer for the Colour Awards: https://vimeo.com/698617437 And read full details on the categories, entry rules and the jury on our website: https://www.filmlightcolourawards.com
  19. Hi everyone. I am receiving comps from Nuke to bring them into Resolve. I'll try to explain how and what they are: It's a car shot of a woman driving in a green screen, which has been replaced with a street in the bg. What I want to do and I am not being able to is to apply a CST, CDL and a LUT only to the foreground, and not to the image that replaced the green screen. And then do a color grade to this alpha channel (the street) separately. I tried bringing in only the BG as a alpha channel, but I believe I am not doing it the right way. Any thoughts on how this process should be done? Sorry if I wasn't clear enough. Thank you!
  20. There are two files in the ZIP-folder, import the "DRX" into your still album and the node tree will be available to you.
  21. Hello, new member here so i certainly could be doing something wrong. I downloaded Mark Osborne's node tree expecting to get the same node tree he was working with in chapter 2. Instead i got a 2 sec still with no color grading or node tree... Screen shot attached. I posted this in the comments section of Mark's master class but thought I might get a quicker response here.
  22. I'm a little confused with the node tree DRX file that was attached to this course. I was expecting something similar to what Mark is describing in his chapter 2 video. Instead I got an ungraded still image with no node tree whatsoever. Am I missing something or importing the DRX file incorrectly?
  23. I second the Flanders. I own a DM240 and it's a great monitor. It won't lie to you.
  24. Corrections best done in log before transforming to rec 709 is the transformation itself. But how you transform it is the consideration. You can use a Log to Rec709 LUT, colour space transform or Davinci coulor space management. I personally dont think any is better than the other. But try experiencing all three.
  25. Node trees are subjective. It's customized for user experience. Your taste. And that's if you really feel like having one. Probably how you would arrange ur apps on ur phone. Only you knows what u want and how u want it. Just go for it.
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