Видео

What if you have an hour long source footage you've just chopped up with Detect Scene Cuts in Edit, but Media Page/Pool still views those individual clips in the Edit timeline as mini-clones of the full-length video? How does one get DVR to recognize those clips actual duration? Thanks for listening. 👌

Hello Darren Mostyn, could you make a video about balance? How do you balance images, with offset, gain wheel ? or Global HDR ? Or it depends and if it depends why and how do you know which to use ? Thanks

Hello Darren. Is there a way to get the Media Page/Pool's video thumbnails to reflect just the actual _duration_ of a clip & not treat every clip as a full-length source clone when you scroll thru it? If so, can the solution be applied to multiple clips? Thanks for your time.

Amazing video Darren, thanks! Two questions : 1 I’m on an iMac and get washed out colours in the exported video, how can I stop this? 2 Is it possible to have this node tree available as a preset in Resolve without me having to manually import it for each project? Many thanks

What about this monitor? INNOCN 32" OLED 4K Computer Monitor, UHD (3840 x 2160) Professional Monitor? Heard it's the same panel that's used in this monitor LG 32EP950-B 32” UltraFine™ OLED Pro 4K Monitor

This was jam packed with helpful information. Thank you. 🎉

Found the video incredibly insightful, thank you for the deep dive on how to build this node tree and make it. I wanted to ask, what is a safe gamut and color space to use when you don't have that information beforehand? (maybe you downloaded some stock footage that isn't labeled or you wanted to try re-coloring an old TV show.)

Thank you so musch for everything you show us hier!!!!

Thank you, this is best cut page tutorial I've seen. Absolutely invaluable for my work flow.

Impressive piece of content, super easy to watch and very informative, cheers 👏🏼

Is it possible to color grade in camera without using davvinci resolve

How do you transfer footage from phone to iPad so can use davinci resolve

I just still don't understand how i know which option to pick at the in and output at the CST. Like what is the difference between gamma 2.2, 2.4 and 2.6, and why shouldn't i use rec709? Still confused at that part (I use the Sony FX30 by the way).

So basically using an io is like using a wav. File instead of using an mp3

Thank you for the video, very useful information. Just so you know (and I'm not sure why this is happening?) but going to that link for the 70% off deal shows the prices as being $99 but if you go to the site manually without adding your name at the end then it shows as $59. I'm from the UK but find it rather odd that they've told you using that link will get a 70% discount when just going to the site shows it as cheaper anyway. Not too sure what is going on there? If you enter DARREN at checkout then it does indeed bring it down to $59 dollars but that's the same as you would have gotten by just navigating to their site anyway? Anyway, thanks again for such a great video.

Bless you

that flex in the beginning. lol

Why use so much of a 'Darren face'? Wouldn't a video with DaVinci and a voiceover be more pleasant? Or is there something essential that I'll miss without a talking head?

Great stuff! Two questions though: 1. The lamp node is just a serial node before all the parallell nodes. As a newbie, I would think that sort of secondary correction should be a parallell node. To me, it looks like you're treating the lamp as a part of your base grade. Can you explain what you're doing? 2. It looks like you're having a good idea of how you want to draw and feather your masks for the lamp and the subject. The outer feathering is much bigger than the inner, and the inner closely follows the object that you draw a mask around. Is this how you generally create masks for a believable look? Merry Christmas in the summer ! ;)

Do you ever work with EXR sequences? I've been trying to figure out the best way to color grade an animation I've created on Blender exported as 32bit EXR sequence and there is a couple videoes explaining working with it but it's not deep enough, they used a custom lut to convert linear into rec709 but it just feels that I'm losing a lot of data. a tutorial about the best way to deal with Linear Exr sequences would be awsome! Thank you in advance

Since getting omniacopes its been super easy to match shor exposure. I just use false colour and im able to quickly see where everything is at a glance and match it straight away.

Thanks

Hello, thank you for your videos. Do you have any advice for choosing an input color profile for GoPro FLat?

🔥🔥🔥‼️🔥

Haha you will still get halo nur Not on the 30k+ ones

Darren, how did you get the motion blur with your mini footage. Did you shoot in 24 fps, or was it something else like an ND filter?

Regarding the free Resolve/10-bit issue: I found that using FFMpeg command line on a Windows machine can convert 10-bit video to PNG's and then you can use them in free resolve. This also works with RAW files, though the $75 RAW Converter is simpler to use and gives very nice DNG's. I knew command line long ago, but refined the command with chatgpt, which worked very well for generating/refining the command line instructions. I saved the command line in a text file, and now I have a lot more flexibility with free Resolve.

This was a huge help, great video!

Do you have a video explaining step by step green screen to fake back ground. You explain things so easily. I'm working on improving my content. Thanks.

What CST to use for Fujifilm Log footage.

Is it ok to apply the film look generator in the ‘timeline’ rather than ‘clip’ in order to have a universal affect. And does this also need cst colour nodes? Loving your work from a fellow Brightonian.

I love, love that both of you are so open about the business. Truly sets both of you apart! Just like Cullen said the secret, saucy secrets of colorists, very good interview Darren!

Perfect, cleared up a lot.

For number 10: - go full scree - hide page navigation bar

Hey Darren, big of a newbie. My DJI camera films in d-cinelike. Having watched a few of your tutorials i don't see a default input colour mode for d-cinelike (to send to Davinci wide) nor do i see any DJI provided LUTs. I recognise d-cinelike is not as flat as LOG so perhaps I don't need to get too fancy with it. Any tips would be appreciated. At the moment I dowloaded some free LUTs that colour correct d-cinelike out the box and it is an ok starting point!

Holy battle stations batman! That's some serious hardware. Thanks for the tour. Very much enjoyed it.

When I move the second added serial to the end (the one we change the input/output settings for), it never stays as the second serial. The number rises even when I try adding a new serial after highlighting the first box again. Does it matter that the little number in the bottom isn't 2? It' still at the end of my graph, I just can't figure out how you brought the second to the end and then your (2nd) box is your 3rd serial

A good, clean, clear and concise tutorial. I watched it twice, second time taking notes. You've cleared up the mystery this device held for me. I had no idea it was so powerful a tool, and I'm determined to get the most out of it. Subscribed, and moving on to PART TWO. Cheers!

Wow very pricy!!! Thanks for the hint using hue vs lum.

Can these settings be used to erase , say a bad word or phrase in dialog without removing anything else?

Thank you for an amazing video. What does the workflow look like when you use Dehancer for film simulation? Do you use the Dehancer node after the color transform conversion from Rec.709 gamma 2.4 to Rec.709 gamma cineon film log?

Question, when I import my audio from my audio recorder, resolve always connects A1 to V1 in the cut page and I am not able to quickly edit my audio. Also for some reason it imports my audio into 6 different clips/tracks, 3 of which have no sound. I have no idea why this is happening and whenever I try to select all of my audio, if I include A1, it selects everything in V1 as well. I have checked to make sure they are not linked. They are not. There is no chain link icon to be clicked. This just seems like a terrible design for work flow. If anyone has a work around, it would be great;y appreciated. As of now, I am having to remove the three blank clips/tracks manually for each import and then I need to move the track from A1 down to A4 to make cuts or the cut page is basically useless. This is quickly turning into a nightmare.

What should the node tree look like using a phantom lut with Sony A7s3 Thank you!!!!!!

Glad I stumbled upon this one. From Color Stabilization to NR. Another great lesson that I will need later on down the road. Darren is 2 for 2 when Ive needed the help the most. THANKS!! 🙂

thanks fam

hey everyone, just tried vision pro today. was able to mirror resolve from their macbook. my mind is blown. i'm switching to apple. can anyone provide insight on specs? specifically, unified memory, and gpu cores. don't work a lot in fusion, but i don't want any bottle necks when i denoise, render, or utilize the usual suspects (e.g. ai). thx -colton

Sir, I need your assistance. Is there a way to create an effect similar to Super NES mode 7? To make it look like a 2D sprite from a MODE 7 game like F-zero, warp it to 3D and allow it to scroll across the screen. I keep trying and failing, please help. @playnalisis

Thanks Darren. Brilliant tutorial. Have you created any tutorials on exporting transcoded HDR log in Rec 709 projects? I followed your helpful settings/workflow recommendations for the rec 709 color grade of a no budget documentary I'm working on. I'm very happy with the results on my MacBook Pro M3 Max monitor and other Apple devices, but when exported the video has too much contrast, is over lit and has washed out colors when viewed on Rec 709 TVs and projectors. I filmed the footage using HLG BT2020 on a Sony full frame camera because I understood it was developed for seamless integration between HDR and SDR. HLG is certainly much easier to color grade than S, C and D-log footage. But, I've struggled with the transcoded Rec 709 color grade on both Davinci and Final Cut Pro.