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  1. Today
  2. Amit Mishra

    SCRATCH Essential Training

    Really very helpful. Thanks
  3. Yesterday
  4. Nicolas Hanson

    stabalize time/hyperlapses

    Lesson 20 in the Fusion VFX intro course is about stabilization too.
  5. Thomas Singh

    stabalize time/hyperlapses

    One thing I love about the tracker in Fusion compared to the one in After Effects is that after the track you get the option to see a zoomed in visualization of the tracked area to see if it sticks or drifts. Then there are never any doubt if the track is good enough or not.
  6. Amada Daro

    stabalize time/hyperlapses

    Stabilization in Fusion is demonstrated in several lessons on Lowepost. I remember that the building replacement course has it covered very well.
  7. Peter Acoustic

    stabalize time/hyperlapses

    Hi everyone, Im doing a lot of time/hyperlapses. So far i didnt find any decent torturials to stabalize. I found a lot torturials in AE, but i dont want to rent it. I want to learn fusion. Do you know any?Thank you for your time. Peter
  8. Scott Stacy

    Film Stock LUTS

    It's not as power hungry as some OFX, but it will tax your system depending on your system. I would be more inclined to use PixelTools https://pixeltoolspost.com/ for a filmic look and then put the FC grain on the timeline. PixelTools uses powergrades and is, therefore, less taxing.
  9. Last week
  10. Lowepost

    SCRATCH Essential Training

    The last lesson "Introduction to 360 VR" is now published.
  11. Peter

    Film Stock LUTS

    I finally got around to trying out FilmConvert. It seems to work well. My question is, because it works as an OFX plugin, I would think that using it over an entire film could slow things down. My thought would be to create a 3D LUT from FC and work with that. Anyone had any experience with this?
  12. Save the date... NAB2019 Colour Day. Monday 8 April. Renaissance Las Vegas Hotel Leading colourists will present their individual journeys in colour, as well as the creative tips they have honed over successful careers – all live on Baselight. The colourist lineup includes… Doug Delaney from Technicolor, who recently graded Captain Marvel, Andrea Chlebak and Laura Jans Fazio of Deluxe, and Oxido’s Fernando Medellin, who will explain his grading approach on high-end beauty commercials and his work on the upcoming HDR Netflix show Monarca. They'll be joined by FilmLight colour experts Daniele Siragusano and Andy Minuth. This intensive day of live presentations and practical discussions is designed to guide colourists, DoPs and the wider production and post industry through the opportunities and challenges of modern colour pipelines, via demonstrations of the exceptional colour management and finishing toolset in the latest version of FilmLight’s colour grading system, Baselight v5. Full details will be available soon. Pre-register now for early access to booking – just fill out the form to the right: https://www.filmlight.ltd.uk/news/events/20190408_nab.php
  13. Yov Moor

    Stabilizer in fusion with variable value

    Thk, that I know already to edit tracking in the spline editor. But maybe I`m not clear, my question it's how to do it the smoothly the value on fusion? what kind of "expression" I need to map a value of transform, rotate, scaling , shaking to more simple spline to edit them.
  14. Soumitra Sarkar

    HSL Curve getting confused

    I am using Baselight 4.4m1. When I try to desaturate the shadow and Highlights by the the HSL Curve 'Lum VS Sat' ... then I was difficult to me because in our Baselight system there was no any 'Lum VS Sat' curve tool like as Resolve. In Baselight I find only the 'light VS Sat' curve by which tool I can't desat the highlight or shadows.. How I can do this with curve.... Not by use Any key
  15. Andree Markefors

    Introduction to visual effects in DaVinci Resolve Fusion

    Thanks Tom! It would make sense for Lowepost to link to this on the product page. EDIT: I see the clip is only a few hours old, so I guess they might be in the process...
  16. Tom Evans

    Introduction to visual effects in DaVinci Resolve Fusion

    https://www.youtube.com/watch?v=PJLY5hCr1lc
  17. Andree Markefors

    Introduction to visual effects in DaVinci Resolve Fusion

    Hi guys! I'm interested in this. But almost out of principle, I'm expecting a "trailer" or a few short examples of content and teaching style. I'm full of confidence that this is a great course, but you can't sell a course to me with a poster image and a solid reputation. There are simply way too many variables in terms of scope, pace, level and so on... Maybe there is more info somewhere else?
  18. Jussi Rovanperä

    ACES workflow between DaVinci and Fusion

    If you render out of Resolve with "no ODT", you would bring those shots back as "no IDT". In Fusion you'd use OCIO only for viewing, but not for rendering.
  19. Michal Golebiowski

    ACES workflow between DaVinci and Fusion

    Hello everyone! Initially I have posted this message on Blackmagic Design Fusion FB group but haven't got any answers (at least not yet) - trying my luck here to see if anyone is able to help... I have a question reg. ACES workflow between DaVinci and Fusion and I would love to get some advice. This project has been shot on Sony FS7 and I decided to use ACES workflow for VFX. Upon importing XML to Resolve I change Color science to: ACEScc, ACES 1.0.3. My ACES IDT is Sony SLog3 SGamut3Cine and my ODT is set to No Output Transform (which is a bit counter-intuitive for me, but apparently correct). Process Node LUTs in ACEScc AP1 Timeline Space (not that it matters here). Using that setup I'm assuming I'm getting EXRs (16bit half-float with ZIP1 compression) that are in ACES color space (reading them in as ACES2065-1 later on). Now, I want to change my pipeline from Nuke to Fusion. In Nuke, I was setting color management as OCIO with aces_1.0.3 config file being referenced. Working space: ACES2065-1, same for 16-bit files. Then sRGB (ACES) LUT. Finally, exporting each comp with exactly the same settings as from Resolve. Whatever happens next is relatively easy - I need to export ACES EXR sequence to match DaVinci settings, that's a bit vague as to what ACES settings need to be set here (to match "no OTD" in DaVinci), but this can be tested and figured out. I believe this workflow to be correct - please correct me if you think something is off. How do I replicate this workflow in Fusion? There is no documentation for Fusion 9 and amount of information about working in ACES, both in general and using Fusion, is very limited. As far as I know, I have to: - Import my ACES EXR image sequence and create OCIOColorSpace node - Reference OCIO config file (1.0.3) - Set Source Space as ACES2065-1 - Set Output Space to... what? This is where I am getting confused. What do I set here exactly? I don't want any conversion to happen, I just want to make sure that Fusion "sees" this image sequence as ACES EXRs and that I am working in Linear colour space... I am trying to set this using different Output Spaces but I cannot replicate the look that I am getting in Nuke... - I understand that I also need to choose OCIOColorSpaceViewLUT and reference config file up there one more time, then set Source Space as ACES2065-1 and Output Space as Output - sRGB (for example). Any thoughts, comments and advice would be highly appreciated... And also links and pointers to some further reading. Thank you so much!
  20. karl ellison

    Conforming in DaVinci Resolve

    Just when i thought i knew how to do this properly..... Thanks, this was a really helpful tutorial and underlines a much needed discipline.
  21. Yes, Dan Moran is very good. (He's also of normal height, which I like.) I don't often get into "beauty grading," but most of what I know came from Dan's lessons, and they helped me immensely on a couple of projects. Dan also had some great ideas on how to mask and track complex objects, which boiled down to multiple shapes -- and that was a good lesson to learn. MixingLight is a terrific resource.
  22. Marc Wielage

    Fix node structure

    Naw, we go with just the 2-up Display at the moment. It's been fine. It's rare I ever go beyond 25 nodes. 18 is more normal for the way I work. There are always exceptions: a few weeks ago, I did a 90-minute documentary in 12 hours in 5 nodes, whole thing, maybe 900 shots. It's more a time/budget exercise, not "how many nodes can I make?" The wide displays give me a headache because I'm breaking my neck on the keyframe window. I also like breaking out the external scopes to a 3rd display.
  23. Lee Lanier

    Fusion Background Replacement

    Thanks for watching. You could apply the tracking data with the Unsteady Position option via the Center XY parameter of an additional Transform tool. Steady Position is an inverted Unsteady Position, where Unsteady Position moves the input as if shot by the original camera. That might be a good approach if you wish to replicate the original camera motion and not generate new motion through keyframing..
  24. Jake Keller

    Fusion Background Replacement

    Hi Lee, Thanks so much for all of your videos here and I've watched some of your others on Lynda too. I was wondering how you would mimic a reverse stabilize after the final merge instead of keyframing the crop offset? Thank you again and I'm excited to continuing working thru all your lessons.
  25. Lee Lanier

    Introduction to visual effects in DaVinci Resolve Fusion

    Awesome. I'm happy to hear it.
  26. Have you checked out mixinglight.com? I really like Dan Morans tutorials/insights on there.
  27. karl ellison

    Introduction to visual effects in DaVinci Resolve Fusion

    Excellent value for money. Concise, clear, and the best i’ve seen. Certain you won’t be disappointed.
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