Benjamin Folts

Thank you, Mark! May I ask what the specs are on the computer you are using to run resolve?

Thank you, Mark! May I ask what the specs are on the computer you are using to run resolve?

I think I need to do this training four more times but I am really thankful this is out there and happy to be a member here. Thank you, Lee and Lowe!

This was very interesting to watch. Thank you!

Very cool to see how he works. Thank you, Walter!

Very cool to see how he works. Thank you, Walter!

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,

Thank you for sharing this valuable work around. Its tips like these that are super important in crunch time.

Great series. Learned a lot! Please keep up the great fusion offerings here on Lowe Post!

This short series is exactly why I love this site. Clear, easy to understand and useful. Thank you for recording this! Hope to see more like it.

Nice work demystifying an aspect of Resolve that has intimidated me since it was added. I'd like to see a second class that dives deeper into other features in Fairlight. Maybe talking about some of the other effects, other bus types, 5.1, 7.1 etc. Also a little more on how the edit tab and the fairlight tab interact with one another. Thanks you!

In most of my cases, the client wants an exact match that has nothing to do with interpolation modes. These are always brought over with an AAF from a media composer. An example is, if I had a variable speed effect (in media composer) ramping from 50% slow motion up to 200% back down to 110% to 80% over the course of the shot. I'd like to see if there is a process to make a matching effect in Resolve from the Avid. When I say matching I mean the Resolve equivalent of an avid Fluid timewarp to a resolve optical flow effect. Also, should the AAF not create the match I want in the resolve, how about a good instruction on how to map the frames or tweak speeds manually based on percentages and timecodes to match in the Resolve in the most efficient way. I know many finishing editors that would tell me to make an "optical" in the avid and send that to Resolve. I don't want to do that. It takes too long and there should be a way to do the effect in Resolve with a perfect match.

Since I am primarily a finisher, I'd firstly like to know how to take a bat sh*t crazy variable time ramp from an avid effect and recreate it to match in resolve quickly and accurately. But in addition to this, it would be great to really crack into the time adjustment controls in Resolve to get a better handle on building custom speed effects from scratch. Maybe some real world examples. But yes mostly taking another NLE variable speed ramp and copying it.

I'd like to humbly request an in depth class on speed manipulation of video within Resolve. Specifically when an editor turns over a timeline with variable speed ramps with keyframes and one needs to copy it within Resolve for finishing. The speed tools in Resolve remain a mystery to many and this would be a great thing for finishers to learn. Thank you,

Very valuable software agnostic insight from a professional. Very cool idea for a class. Lowe Post nailed it with this one.