5 Tips for Good Skin Tones in DaVinci Resolve 18

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 →

Create Textural Depth with Depth Map

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 →

Create Textural Depth!

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 →

HEVC Main10 vs. HEVC Main 4:2:2 10

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 Switched Over to P3 D65!

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 →

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