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Found 12 results

  1. I'm selling a Davinci Resolve Studio Dongle that I used only once. Bought in March new from B&H. $250 OBO. Email me at jordan AT canopyfilms.com or shoot me a PM. Thanks.
  2. Hey everyone, This might be a question that exposes my ignorance, but recently I was asked if I could grade a 30 minute documentary for someone. I happen to do a lot of color correction for my job as well as just for fun when I want to mess around in Resolve, so I was confident that I could do what the director was asking for (she said she wants it to look true to life, so mostly just primary corrections it sounds like). Then she told me that the footage was V-Log 4K shot on the Panasonic EVA1 and asked if I have a 4K monitor, which I don't. What I do have is an IPS 1920x1200 monitor,
  3. Hey there, this is my very first contribution to the forum - forgive and correct me if I am doing something wrong. Two weeks ago I had the chance to take a Sony Venice out and shoot a part of a short film on it. Sony kindly let me and my team test it out. Now we are rendering proxies for our film editor, and weird stuff happened. On some of the 6k X-OCN St footage that I processed through Davinci Resolve 14, colors went really odd. I mean, really odd. Skin is grey and blue, purple is green, yellow is purple-green-blue-noise. I attach a file to give you an impression of how the picture sh
  4. I bought two Ursa Minis 4.6K. I already have Davinci so I don't need those. They are NEW, never used. Boxes open because it comes already like that in the camera package. Looking at selling individually for $550 each or 1000 for the 2 package. Willing to ship internationally with paypal. I include on the price the paypal safe fees and shipping cost. Contact Guillermo: gpolofilms@gmail.com Thanks!
  5. Good evening guys. So, I am looking into optimizing what I get out of my RAW files. And I am not sure I am doing that right now. My workflow now, is 2,5k RAW in Resolve, and then exporting for further editing in Premiere and AFX. What kind of bitrate would you use going from Resolve into Premiere? And what is sufficient for web and cinema use? Thanks!
  6. Hi Guys, I’ve been running into some very strange discrepancies between grading in the ACES and YRGB colour spaces in Resolve, and was wondering if anyone might be able to shed some light on them? In a nutshell, what I’m seeing is the following: - in YRGB, images respond predictably to LUTs, but yield less subtle variation in skintones - in ACES, images become violently overexposed when applying LUTs, and contain boosted red tones - After correction, images in ACES appear to yield more accurate and nuanced colour reproduction Here’s the original log image (slog3 from a Sony F5) an
  7. Hi, So in Davinci Resolve we have used one long continuous take that we have cut up in various places and into multiple shots. When I apply a LUT to one of the shots, it applies it to all of the shots as the camera was rolling the whole time and it is all coming from the same file. I just want to apply a LUT to one of the shots and not have it apply to all of them, how do I do this? Hope that makes sense thanks
  8. I recently pushed DaVinci Resolve further than I have yet. A project came in that needed a bit of compositing, and I tackled in right in DaVinci Resolve. And with a little help from Boris Continuum Complete, it all came together beautifully. All best- Mike Wolf Finishing Editor | Colorist www.shinefinishing.com 310-357-7211
  9. Hi, I'm trying to get my head around some basic concepts of working with different colour spaces when grading (specifically, in Resolve) and am hoping some of you may be able to shed some light on it all. I am using a Macbook Pro with DaVinci Resolve, outputting through a Blackmagic Mini Monitor into a HP Dreamcolor Z24X. Am I right in thinking that the correct way to grade with this setup would be to work in the sRGB colour space in Resolve, and then set my monitor's colour space to the one relevant to my delivery? Eg if I want to grade for cinema projection I can set the monitor to DCI-P3
  10. i'm only asking for help on how to convert the Sekonic color meter "CC" index reading to apply to the Resolve "tint" slider value in the camera RAW section. (no mired/kelvin issues for this.. just the CC value and translating that value for post work) On p12 of the Sekonic manual paraphrased, each CC index number is multiplied by 2.5 to get a Color Correction filter number... OK, that's awesome... for knowing what CC gels to use on lights... ...but how does that meg/grn adjustment number relate to the +/- 150 value in many applications (lightroom/resolve) I would also like
  11. Hello, I'm relatively new to DV and recently installed version 9 after coming from 8.2. I've looked around on the net for problems regarding this issue and have basically hit a wall - the problems that most people have had were with the same anomaly I've been trying to deal with. Problems: Finalized file has a bar at the top of the video that flickers on and off. The entire frame will do this as well randomly throughout a clip. Along with the above, say I apply a LUT and grade it, then render. In the final file the video flickers back and forth between the graded footage and th
  12. To anyone here who uses DaVinci Resolve (full or Lite), you may be interested to know that version 9.1 was released today. The update includes retina support for Apple's Macbook, including the 15" Retina Macbook Pro. It also includes an enhancement for the CinemaDNG format, which is used by the Blackmagic Cinema Camera. The Resolve product manager has posted full details about the update to the Blackmagic forums, here: http://forum.blackma....php?f=3&t=4253 The update can be downloaded via the Blackmagic Support page: http://www.blackmagi...gn.com/support/
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