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  1. Today
  2. Have you tried to freeze the single frames, stretch them out and/or create a compound clip?
  3. Yesterday
  4. Registration is now open for our next Colour Online webinar: Developing Digital Images with Andy Minuth, FilmLight Colour Workflow Specialist Tuesday, October 27 In this new live webinar, Andy demonstrates best practice for developing digitally acquired images and for building a layer stack.
  5. You should probably look into stacked timelines. Resolve doesn't have an option to display source windows as timeline.
  6. Lately I have been editing in Resolve. It's quite a transition from Avid, but I'm starting to like it, and I save so much time with everything around such as the conform tools, audio syncing, rendering and so on. I have one newbie questions though. In Avid I have a button at the bottom of the timeline that lets me switch the timeline between the player and source. How do I do that in the edit module of Resolve? It's very useful when editing source audio.
  7. Last week
  8. B&H is top notch. They have always fixed issues quickly and their customer service is excellent. Check out Payboo for saving sales tax on orders.
  9. Hello Community,My client has just told me one of our delivery requirements is to export titles that were superimposed over picture as alpha channel embedded EXR files with matching durations, fades, etc to the program.I'm able to export with an alpha no problem, however because the titles were created out of house by another artist, they came to me as single frames. When I try to export something that was a single frame trimmed out to two seconds for example, I just get the single original frame only. I know that is because I have "individual clips" selected in the render settings. This is the only way I am able to get the tick box to embed alpha.Anyone run into this?Thank you,
  10. thanks Morgana my email is I will write you of course. talk soon, Stefan
  11. Just my own experience here, so take with a grain of salt... B&H is one of the more reputable companies I know of here in the USA. I've purchased many things from them - cine cameras, lenses, you name it. I have never had a problem and they always ship super fast. That being said, my understanding is that both B&H, as well as Adorama are NYC based businesses that seem to operate around Orthodox Jewish holidays. It's usually not a problem, but these holidays are sometimes long and they don't process orders (even if you place a web order) during the Jewish holiday. Usually when this happens they have a giant banner on the top of the webpage stating that they will not be processing orders, along with a date when operations resume. When I need something during those dates, I usually look at other online retailers like
  12. This is my color grading setup in the center of Amsterdam, the Netherlands. I am working on Mistika Boutique and running this on a supercharged 2019 MacPro. 🔥 The casing for the panel is in the works, this is done by a craftsman specialised in furniture. I can transform the light in the studio from warm cinematic for instance when I am chilling or watching a film And off-course I can set the light to 6500K 98 CRI so it becomes a calibrated room for finishing productions. For more info check
  13. The FSI monitors are factory calibrated and should be accurate out of the box. I think the brightness is set to 100 nits by default, and the monitor expects video levels by default, so just check that the monitor output from your software is set to video levels. And check that gamma and colorspace in the monitor are what you want to use. That's all. I think when I got my FSI, i didn't have to change any settings, just plugged it in and everything was correct for rec709 by default. Calibration-wise I would just verify the calibration time to time with a puck, and if it starts drifting, send the monitor to FSI for free recalibration (you pay the shipping)
  14. Hi! I'm a new member of the Lowepost family and a young aspiring colorist who saved up to buy a reference grade monitor. However, I am not 100% of how to set up my new DM240 for accurate monitoring. Flanders themselves offer a tutorial generally describing the process of profiling for generation of a monitor LUT, however FS tech support told me no calibration was necessary and didn't mention anything regarding monitoring LUTs. From previous experience, I am led to believe that generating a monitor LUT to be used on Resolve Color Management is absolutely necessary for accurate monitoring, but what I do not know is exactly what settings to tweak in both the monitor and the calibration software, in my case, DisplayCAL since I can't afford FSI's own $550 USD iProfiler/CalMAN bundle. Most of my work is for web, seldom any TV work. So should I mess with the monitor's luminance? Should I be using Video or Data as my SDI level? What settings should I tweak when setting up the calibration in DisplayCAL? I am aware that monitor calibration is no easy subject, but I'm willing to learn and offer any additional information that might help me with my journey as a colorist. Thank you!
  15. Earlier
  16. Hey Stefan, Yes, I’m absolutely still interested. Remote colour musings aside, I’d be curious to hear more about your communication tool. Feel free to email me ( and we can setup a time for a phone call. Talk soon, Morgana
  17. Thank you for sharing this valuable work around. Its tips like these that are super important in crunch time.
  18. To deliver the job, I rendered the 16:9 clip out and brought it back into the square timeline.
  19. That could be a workaround, the problem is that the original timeline contains so many unwanted elements such as subtitles. I applied a resize (stretching it back to 1920x1080) after the polygon (and prior to the media1) and that seems to work in this case. I have done some more testing with copy/pasting fusion comps to different timelines with different aspect ratios, and it seems that if I copy the original fusion comp and paste it into a new 1:1 resolution timeline, it will crop everything outside of the square and it seems impossible to retrieve the lost pixels. The trick with applying a resize prior to the media1 doesn't work in this case, in the example above it only stretched out the polygon shape to the original format (1920x1080) it was made in.
  20. Instead of dropping the original Fusion comp into a new timeline, trying dropping the original timeline (associated with the Fusion comp) into a new timeline. That seems to work for me. The roto comes through fine despite a difference in resolution between the two timelines. You can stack timelines and clips if you need to.
  21. Aljoscha is a colourist at CinePostproduction in Munich. While he mainly works on new feature films and TV series, he recently had the opportunity to grade the remastering of The Neverending Story, director Wolfgang Petersen’s hit film from 1984. Find out about the interview:
  22. After having looked closer to it, it looks like the scaling and crop matches, but that the roto of his hand (the polygon) is twisted. I have wired the polygon directly to the Media in, if that can have something to do with it?
  23. You can by going to the subtitle settings on the render tab and choosing burn into video just like Sergey explains above.
  24. Sometimes it's not possible to "mark in" or "mark out" or move the markers (in/out-points) in the delivery tab. Probably a bug, but it's been a around for a while? Any workaround? I have also noticed that if I choose the default "protools" option the in-point automatically sets itself to the first frame of the timeline, and it's not possible to move it.
  25. Do you know if it's a shortcut to center audio on clips in DaVinci Resolve? Most dialogue sound I get is either on the left or right audio channel and in Avid i simply click 0 in the audio mixer to center it.
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