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  2. Thanks Nicolas, I'll give those a try. Thanks for taking the time to check out my post.
  3. Hi, newbie here. I was looking around.. and I was reading an anrticle about 'Band of Brothers'.. at the end is a link about look creation.. i click it and send me to a page that says "The page you are trying to access is only available to our members" My question is: Am I a member? I bought the Premium membership.. the link: https://lowepost.com/insider/courses/look-creation-in-davinci-resolve-r37/ Thank you for your help.
  4. I think they are quite similar really when it comes to silver. You could try to de-connect the RGB channels and draw a luma curve. It will increase the silver. You could also use the top part of the curve to compress the highlights or flatten them out. And, play with the midtone details slider to reduce sharpness.
  5. Shots are similar to this, no challenges really. I'm just interested to see if there's a way to create more of a silver effect like the example above.
  6. Would need to see how the lighting is on the shots you are working on to determine which techniques to use to get there. Need to know what's already taken care of and what challenges you face.
  7. Totally understand. Not trying to be cryptic but can't post references from the actual job . Trying to think of ways to make a black and white image look a little more like mercury (pic below). I'm thinking it's about combining softening and edge sharpening, maybe luma only sharpening and lots of selective blur. Any thoughts would be much appreciated.
  8. Any chance you can post references? Sounds like you are looking for ways to compress highlights but your post is a bit cryptic and I'm not up for guess games right now.
  9. Hey Ryan, I feel your pain. I've done a lot of experimenting on this in the last few days and I think I have a few workable clues I can share: • If you are using Neat Video it causes problems. Even in a 2k Timeline is causes weird rendering behaviour. And I assume if Neat Video can cause this issue, perhaps other OFX plugins can do this too. To work around this I tried a bunch of things - playing around with optimized media, changing the GPU setting in Neat etc. None of those worked. I optimized R3d files onto an external SSD which gets about 800MB/sec and was using a 2k timeline. O
  10. Would love an explanation for this as well. And any work arounds. I work in commercial edit, and I have clients in session. I am worried about switching from Flame to Resolve for the simple problem of not knowing if I will get stutter or not. I know render in place is supposed to fix that. Much like a "hard commit." But even render in place, I will not often, but sometimes still get a stutter.
  11. Mercury the chemical element e..g no pigment/shiny/reflective and liquid like.
  12. What is a Mercury look? Is that a movie reference?
  13. Hey All, We have an opening at Optimus Chicago for a VFX/Finish Assistant. Please follow the link below. http://optimus.com/work-with-us/
  14. Hey, I've been asked to create a mercury like look for a black and white car promo I'm grading. Started with a red filter style BW grade then played with luma only adjustments to add silver but I wonder if there's something I'm missing. Does anyone have any tips or techniques to share for creating more of a mercury liquid like look? Any help would be much appreciated.
  15. Hi Spencer, I've been doing color grading on a professional level for 6-8 years now. But I still think I can't say I am a senior. A decade sounds good but it will also depend on the quality of the experience you get with time and if you are doing the job full time. No clear answers here. There is so much to learn, Cheers,
  16. Nick Roers

    Mad Max: Fury Road

    Everyone always talks about the teal and orange look but it's the grit of the look that I really like. Interesting read, especially about shooting over exposed for the day for night.
  17. @Stefan Ringelschwandtner Agreed, if it looks right then it's right. For film emulation these days I'm 90% of the time going to Look Designer and building on top of that. I'm also using a few DCTLs to save time in other areas too. Like you say, if we want the film look then we should shoot on film, everything else is borrowing characteristics.
  18. Thanks for your kind words, Jamie. I cannot really say much about "film density". Maybe the colors shifted with different density, and the grain structure changes. I am just using a LUT and adding elements from my PowerGrade and grade it. I like the "filmconvert" plugin (But I rarkly use it.). The colors from filmkonvert are excellent. But for grain I don´t care if the highlight rolloff emulates film 100% correctly. The grain itself should look good. And if the wall you are shooting is a little bit brighter or darker that will also have an impact on your grain structure. And the light o
  19. I think what you've done is super useful, especially for explaining the parts that make up a classic film look. Thanks for putting the time in to recreate the grade. I'd be interested to hear your thoughts on creating film density. Often this is the characteristic that clients want but never know how to ask for. I tend to use a combination of curves (hue/luma) with colour separation underneath a print style S curve. Plus there's various saturation tekkers that get thrown into the mix.
  20. Hello everyone! Great news - Windows release is officially here! •New engine runs on Apple Metal and Nvidia CUDA (AMD support will be provided later) •Halation and Bloom are totally redesigned for a more realistic effect and allow better control and additional settings •False Colors output filter for visual quality control is released as a separate FREE plugin You can download updated plugins at www.dehancer.com Previously purchased licenses are valid for activation on Windows. Enjoy!
  21. Hey, Stefan. I agree with you to a point, but from my point of view (and Kodak's), Halation and vibration are actually flaws, not always a positive creative look. The halation is a conditional thing: I've been using Glow, Scatter, and sometimes BorisFX tools to add selective diffusion when the scene needs it. But it's not something I'd want all the time, and sometimes I only want it over a specific part of the frame, and I need to eliminate it from some shots entirely. I concede it's a creative choice. 90% of my work these days is color-correcting 1980s/1990s films for reissue, and becaus
  22. Thanks for sharing my "monondes" blog post here. Just want to say Hi! I am here, too. Setting up seems a bit complicated but the beauty of using PowerGrades is that you can save it all as preset (light, middle, strong halation), (light, middle, strong camera shake) for 2k, 4k. You just have to set it up once and after that it is just "drag and drop". In the past I often thought... well "a LUT" (or color grade) and a bit of grain is "enough", but Halation and camera shake, and other small details really complete the emulation.
  23. Love the amount of effort he's gone into there. Great resource covering the some of the main characteristics.
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