Jussi Rovanperä
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Everything posted by Jussi Rovanperä
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I'd do what Lee said as well, stabilize the shot, paint, and then invert the stabilization.
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Have you looked into using Nuke Studio as the central hub instead of BL?
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I don't worry about viewers gamma and viewing conditions because those are out of hands anyway. What is important with many projects is to make sure that the grades work also on smaller devices like phones and tablets, something that looks moody on a big TV might just look really dull on a small screen, so one would need to find a compromise that works on both. -
I haven't seen the keyboard used in real life, but on the demo he kept the trim button pressed down while jogging with the wheel. But I'll check this from some people who are in NAB now. EDIT: Confirmed that this is how the trims work.
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Grant said that there will be a left-handed version also. The trim buttons in the bmd keyboard work like modifier keys for the jog wheel, and I think that is quite a bit faster and intuitive than first selecting a trim mode, then adjusting the trim, and then switching to another mode
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Single SSD would be fine for the R3D's, but the bottleneck for the playback is the CPU and GPU power, not the drive speed.
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ACES workflow between DaVinci and Fusion
Jussi Rovanperä replied to Michal Golebiowski's topic in Fusion
If you render out of Resolve with "no ODT", you would bring those shots back as "no IDT". In Fusion you'd use OCIO only for viewing, but not for rendering.- 1 reply
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you can create a line with polygon or b-spline, and use that as a mask
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Same here.
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Walter posted an earlier version in facebook, and wrote a little breakdown of the nodes. I saved it because I thought this is an interesting approach.
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For projects with hundreds/thousands of cuts, it makes sense to have a fixed structure. I've been using 16 serial nodes, and "Switching clips selects" is set to "same node", so when you change clips, the same node stays active. For short projects it doesn't really matter.
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AFAIK you can't.
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I would transform to redwidegamut/3g10 and then color transform from that to awg/logc. Going to DG/RG4 or DG2/RLF might clip some values.
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Single HD speed is in that range, so that's the bottleneck if you're not using ssd's or Raid's.
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You should check "If it's purple someone's gonna die", here's a link
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Master Study in DaVinci Resolve Printer Lights
Jussi Rovanperä commented on Stig Olsen's insider article in Color Grading
Mistika has keyboard shortcuts for RGB Gain, Lift and Gain+Lift (offset) -
Resolve Gamma 2.4 vs Rec709 (Scene)
Jussi Rovanperä replied to Anton Meleshkevich's topic in DaVinci Resolve
In Resolve, rec709 gamma is bt.1886 formula, srgb is the srgb formula, gamma 2.2 and gamma 2.4 are pure gamma functions, like gamma 2.2 is linear^(1/2.2) and gamma 2.4 is linear^(1/2.4). gamma 2.2 is very close to srgb formula, but gamma 2.4 is quite different from bt1886. -
Most of the Aces issues seem to be caused by AP1, it's small compared to camera gamuts like AWG or RWG, so colors that are out of gamut for AP1 end up in strange places.
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Linearize between Colorspace Transforms
Jussi Rovanperä replied to Jeremy Dulac's topic in DaVinci Resolve
If you set the CST input gamma to 709 and output gamma to cineon, the footage will be linearised between the transforms, and if you do a color space transform in the same node, that is then done in linear - between the gamma transforms. -
Merge clips after scene cut detection
Jussi Rovanperä replied to Thomas Singh's topic in DaVinci Resolve
If you delete the clips from the media pool, and bring in the original clip, it should link to the timeline and then you can merge the cuts. -
You're talking about base grade here? I think a important point is that the tone curve is tweaked in Lab, so even if the curve becames quite flat at some areas, it doesn't affect the color. The same curve in RGB would gray out those flat areas.
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A typical normal exposure would be around 0.4-0.45, darker shots would be 0.2 - 0.3. But there are a few different methods of how to set the exposures and ranges in a grade.
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Not a stupid question Usually I set it where the mid gray is, and keep the same range settings for the whole scene. If the pivot is set to same region, then the contrast control and the log shadows / highlights work together nicely.
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IMO those resolve default ranges for the log tools are useless, I set both ranges to the same value, so the curve is softer, and only use shadows and highlights. It beats me why they haven't added an adjustable rolloff.
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key shadows, blur the key and drop the gamma.
