Tom Evans

I do agree with Santiago, start with matching the exposure and contrast levels, then level up the overall saturation and then go in and tweek.

I do agree, but I feel that's the point with these - to get in their minds more than learning what buttons to push.

What lesson?

Maybe rephrase the questions a bit? Not sure I get what you are asking.

If you want to include shots on your reel from this site or others you will have to ask and probably credit too.

That would require a combination of techniques. I would start with luminance keys, but for the top part I'm afraid you will have to sharpen up your roto skills. Watch Lee Laniers rotoscoping course for some great roto techniques.

Just to make sure you are using the correct phrasing to avoid confusion... the display color space should be set to rec709 but he recommends that you set the working colorspace (timeline colorspace) to Arri Log C.

I'm working on a full length documentary from a slow disk and want to copy only the camera files used on my timeline in full length over to a faster SSD disk. Any smart way to do that?

Hmmm... the link on the front page is https://lowepost.com/insider/discounts/popular-post-production-tools-r39/ ,and that's without FrameIO.

I agree! @Anfisa Zelentsova, you should partner up with Lowepost and have them create workflow videos for you. Will buy if they can demonstrate how it can be used in a professional workflow and recommend your product.

Where do you see FrameIO, I can only see a discount for FilmConvert on the discount page?

Just connect and you're good.

Connecting your laptop to the monitor through the UltraStudio gives a clean signal.

That's all good, but you should load the LUT into your monitor instead of loading it into the app because it can affect the signal sent to the scope. I suggest you read about how you load the LUT into your monitor (manual) and you should be fine. Or, you could buy Scopebox or Nobe scopes instead of using the internal scopes. I have also watched the course and you don't need to replicate the exact same steps in your app. It's just examples and it's possible to understand the point he's making without doing the same thing yourself.

That's not a good solution because it can affect the internal scopes. You should get external scopes, use a monitor with internal LUT capabilities or buy a LUT box and connect it between your video card and monitor.

Remove the calibration LUT and see what happens. You might need to remove it, and start a new project.

Your signal is disturbed, probably influenced by an output/monitor LUT.

First of all you should post questions related to specific courses in the comment field below the course. Or, at least let people know which course you are following. Second, the members and instructors in this community are doing their best to help out in any situation so insinuating lack of activity isn't exactly the most clever move to get help. So, start again. Post a full frame of your UI (not easy to see the context in the image you have posted) with a detailed description below the course you are following and you the community will help you solve the problems you have.

That's a clean nice looking suite!

Do you offer on-set monitors with high nits and internal LUTs?

Probably just a DaVinci Resolve bug, let them know about it.

That's what I'm afraid of, but I see the devices that I listed as necessary to work. Monitor Screen Speakers Panel External Disk The Mac Mini M1 has the following ports: 2x Thunderbolt/USB4 1x HDMI 2 2x USB A 1x 3.5 mm/headphone Any chance this is enough?

I just bought Macbook Air m1 and it's incredible fast and I'm going for a Mac Mini M1 to run DaVinci Resolve next. I need to connect a screen , a calibrated monitor, two speakers and a panel. In addition, I need two usb-c inputs for external disks. Does the Mac Mini have enough inputs for this setup? And I need a UltraStudio to get XLR outputs for the speakers and SDI to the monitor? Sorry for the newbie questions. I have the Mac Pro 2020 and it comes with lots of inputs and a decklink card but want to scale things down for my home office.

Use a film emulations LUT to get the rich contrast. Then, key the blacks and work the lift and gamma against each other to open up the shadows. That leaves the richness in the mids and gives milky blacks.

I don't believe I just watched this... thank you Walter!