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Don't key faces.Don't try to correct skin tones using the tint and temperature sliders in the RAW controls.Grab a still before color correction and use the image wipe in the viewer to compare before/after as you make adjustments.Use Offset or the Global wheel in the HDR palette for correcting skin tones.Upload to YouTube using ProRes... Continue Reading →
Grain is one of the key components of the film look but few things are more distracting than seeing clumps of film grain dancing around on the talent's face. One solution is to use the HSL qualifier to isolate skin tones and use the keyer to de-emphasize the grain. An even easier way is to... Continue Reading →
We applied the depth map, then went ahead and added some blur.
https://youtu.be/if7IzD9tl4w Not a few of us have dreamed of being able to work with native ProRes RAW files in DaVinci Resolve, but realistically, it appears as though that’s not on the horizon. We'd been transcoding to ProRes 4444 with variable success for a while when it was announced last year that a Czech filmmaker by... Continue Reading →
During an appearance on Cullen Kelly’s Grade School, the brilliant colorist Jill Bogdanowicz revealed a secret to accenting texture without it looking over-processed. While working on Joker, the colorist used Live Grain - which separates out the red, green and blue channels, creating grain that resembles scanned film - to accentuate texture in the cooler,... Continue Reading →
DaVinci Resolve firmware update 17.4.6 addresses an issue that caused the app to crash when using some of the HDR controls with Apple Silicon. Prior to the update, clicking on any of the range indicators in the HDR palette - the small icon to the upper left of each of the HDR wheels that allows... Continue Reading →
As consumer HDR displays have differing peak luminance and contrast capabilities that are not infrequently less than the mastering display, it's necessary to map PQ content to match the capabilities of the target consumer display device. This scaling or mapping is controlled and managed by metadata. According to YouTube's help page, "HDR videos must have... Continue Reading →
A little while back, we reported that Blackmagic Design had added support for HEVC 4:2:2 Main10 on Apple Silicon in DaVinci Resolve. What we didn't realize at the time was that the render page now had three selections for encoding HEVC: Main (8-bit), Main10 (10-bit 4:2:0) and Main 4:2:2 10. Using Invisor, an app brought... Continue Reading →
We can't really say we’re seeing a world of difference, but we're going to be diving headlong into P3-D65 as of today. At least for the videos we edit in DaVinci Resolve. For Final Cut Pro, we're going to continue using Rec.2020 PQ, as there isn't any other option - yet. 'How', you ask? Why,... Continue Reading →
DaVinci Resolve Studio 17.4.4 brings many enhancements, chief among them being support for encoding H.265 4:2:2 Main10 on Apple Silicon, the codec used to upload HDR video to YouTube and the most demanding operation on our M1 Max MacBook Pro with 32GB RAM. In order to determine exactly how much of an improvement the update... Continue Reading →
The Daejeon Chronicles 