Davinci Resolve 9.0

[Gabriele Turchi]

Jake have they finally implemented separate, per edit-clip, or per node Red settings (rather than just one possible for the whole R3D file, no matter where it appears in the timeline, as is now?) Is there control surface support within Red Settings?

Really would LOVE to be able to set separate ISO and WB within nodes, using various qualifiers

Before anybody this is beyond what a color grader should do, what would this be, exactly, other than color grading?

this V9 have a lot of new stuff .

Log grading tools
Audio
R3D settings per version (not per node) (ps: having 16 bit decoder , unless you want to go up or down 5 stops you don't really need that )
New major improved tracking tab (easier to fix tracker errors) (also now tracker does not reset at the end of the clip)
New shots flag system metadata (flag shots and apply filters )
GUI redesign

Many other smaller things (and i might have forgotten some big ones ..)

great work BMD


g

 

[Gabriele Turchi]

here

http://forums.creativecow.net/thread/277/16641

g

 

[Mathieu Ghekiere]

Can anyone explain to me what this LOG grading feature is, and if it isn't self-explanatory, how it differs with the tools now available in Davinci?

 

[jake blackstone]

Jake have they finally implemented separate, per edit-clip, or per node Red settings (rather than just one possible for the whole R3D file, no matter where it appears in the timeline, as is now?) Is there control surface support within Red Settings?

Really would LOVE to be able to set separate ISO and WB within nodes, using various qualifiers

Before anybody this is beyond what a color grader should do, what would this be, exactly, other than color grading?

I can't even imagine how it could be done or why would you want to per node metadata settings adjustments. You're asking for simultaneous multiple debayer settings for the same clip, one for each node.
As far as R3D metadata settings goes, yes, it is per edit event or it can be used even with per version settings. Which means you can different metadata settings for different versions of the same event.

 

[jake blackstone]

Can anyone explain to me what this LOG grading feature is, and if it isn't self-explanatory, how it differs with the tools now available in Davinci?

Grading is done with offsets, mapped out to the trackballs, resulting in an easy contrast control of the image and more natural overall grade, very much akin to the optical color timing. All this means much more consistent grades with cleaner images. That is the primary way of color grading by the majority of professional colorists.

 

[M Most]

Grading is done with offsets, mapped out to the trackballs, resulting in an easy contrast control of the image and more natural overall grade, very much akin to the optical color timing. All this means much more consistent grades with cleaner images. That is the primary way of color grading by the majority of professional colorists.

Although exposure (aka offset) and contrast are the primary grading controls in a proper log grading pipeline, most systems also have shadow, midtone, and highlight controls. These are not the same as lift, gain, and gamma in that they are set up with proper pivots and ranges for log image values and are much more selective than typical lift gain and gamma controls. Resolve 9 has these controls as well as the offset controls and a new contrast control, with a variable pivot.

 

[Maxi Claudio]

any videos demoing the new features?

 

[Rob Ruffo]

this V9 have a lot of new stuff .

Log grading tools
Audio
R3D settings per version (not per node) (ps: having 16 bit decoder , unless you want to go up or down 5 stops you don't really need that )
New major improved tracking tab (easier to fix tracker errors) (also now tracker does not reset at the end of the clip)
New shots flag system metadata (flag shots and apply filters )
GUI redesign

Many other smaller things (and i might have forgotten some big ones ..)

great work BMD


g

Sounds great! But you do need that if you want for example the window outside to be another WB than characters indoors. It's not like that never happens... Per node Red settings would open up many creative possibilities and demand fewer visits to After Effects, as would a transparency setting.

Also, DI has become much more advanced now, and the notion of realtime less important. If some clips do not play at 24p without a pre-render, it's not much of an issue.

Anyway, in Premiere Pro I can exactly that. I can layer any number of Red debayer settings of the same clip.

 

[Rob Ruffo]

Although exposure (aka offset) and contrast are the primary grading controls in a proper log grading pipeline, most systems also have shadow, midtone, and highlight controls. These are not the same as lift, gain, and gamma in that they are set up with proper pivots and ranges for log image values and are much more selective than typical lift gain and gamma controls. Resolve 9 has these controls as well as the offset controls and a new contrast control, with a variable pivot.

GREAT news!

 

[Gabriele Turchi]

True , but remember that resolve is 32 Bit float ...
If you decode RD3 SDK at 16 bit , unless we are stalking 4 stops of exposure adjustment ...
You can pretty much manipulate as much you want wont without need of change SDK setting

Having R3D seafaring per version open possibilities in therms of comparing etc...
I am note sure that having it per node would add more grading possibilities (because of the 32 bit float )

g

 

[jake blackstone]

Also, DI has become much more advanced now, and the notion of realtime less important. If some clips do not play at 24p without a pre-render, it's not much of an issue.

Well, that's the philosophy, that I disagree with. DI Is not VFX. For color grading I demand real time playback and I do not want to spend a ton of time, trying to figure out the crazy node tree of the shot, something like 10 layers or more, that some people like. And on top of that to have different debayer settings per node too? I'll pass...
DI is all about consistency, simplicity, artistry and speed. VFX is, pretty much, an exact opposite, except the artistry part. As a matter of fact, I disagree with the whole notion of the node based color grading in the same way I disagree with a layer based compositing. But that is different subject altogether...

Anyway, in Premiere Pro I can exactly that. I can layer any number of Red debayer settings of the same clip.

In theory, you'll be able to do that in V9 too, if you'd like, by doing the same thing- stacking multiple layers of the same image. You just can't do that on per node basis...

 

[Rob Ruffo]

Well, that's the philosophy, that I disagree with. DI Is not VFX. For color grading I demand real time playback and I do not want to spend a ton of time, trying to figure out the crazy node tree of the shot, something like 10 layers or more, that some people like. And on top of that to have different debayer settings per node too? I'll pass...
DI is all about consistency, simplicity, artistry and speed. VFX is, pretty much, an exact opposite, except the artistry part. As a matter of fact, I disagree with the whole notion of the node based color grading in the same way I disagree with a layer based compositing. But that is different subject altogether...

In theory, you'll be able to do that in V9 too, if you'd like, by doing the same thing- stacking multiple layers of the same image. You just can't do that on per node basis...

Yes, but this would be much more useful if I could use a tracked window to affect a transparency setting.

I think we represent a large segment of the market for these tools. We do post on high-budget music videos. Its' not Avatar here, but it isn't wedding videos either. There is a lot of one-man band going on, so I'm the one who would have to go to after effects and do stuff, and waste time in the process. The line between VFX and color-grading is highly blurred in our studio. We have about a week, on average to post a 4 minute or so video.

 

[jake blackstone]

Yes, but this would be much more useful if I could use a tracked window to affect a transparency setting.

You can do that. Just use transfer modes in conjunction with tracked window on a layer.

I think we represent a large segment of the market for these tools. We do post on high-budget music videos. Its' not Avatar here, but it isn't wedding videos either. There is a lot of one-man band going on, so I'm the one who would have to go to after effects and do stuff, and waste time in the process. The line between VFX and color-grading is highly blurred in our studio. We have about a week, on average to post a 4 minute or so video.

I just finished grading music video for high profile band, based on one of the so-called, tent-pole movie, that's coming out shortly. No problem with separate edit, VFX and grading, that was done on separate stations. Pretty standard stuff.
But if that doesn't work for you, then you should investigate Smoke.

 

[Rob Ruffo]

You can do that. Just use transfer modes in conjunction with tracked window on a layer.



I just finished grading music video for high profile band, based on one of the so-called, tent-pole movie, that's coming out shortly. No problem with separate edit, VFX and grading, that was done on separate stations. Pretty standard stuff.
But if that doesn't work for you, then you should investigate Smoke.

It's standard, yes, but so is our approach. Our approach has the benefit of having a more integrated, global vision of "pixel flow" from camera to delivery. Things like roto, which are wholly discreet and have only one right answer, are farmed out. Also, I say high budget, but we're not at the very top yet. We'll get there

Smoke is another learning curve I just don;t have the time budget for for now. I am a D.p. and director, and with my wife run a side rental company for our gear. There's not a lot of time.... (Not to say you have much free time either)

Where is "transfer modes" in the interface? I probably sound stupid here but I didn't know that one. I did all my learning in V8, and really have not had much free time since then. Do you mean the layer types (like Overlay, Darken, etc?) How could those be used to create window-based transparency around, say a layer that has a different WB Red debayer setting than another?

Thanks for your thoughts. If ever I subcontract color grading, you are my first call.

 

[jake blackstone]

Where is "transfer modes" in the interface? I probably sound stupid here but I didn't know that one. I did all my learning in V8, and really have not had much free time since then. Do you mean the layer types (like Overlay, Darken, etc?) How could those be used to create window-based transparency around, say a layer that has a different WB Red debayer setting than another?

Thanks for your thoughts. If ever I subcontract color grading, you are my first call.

Yes, those are the transfer modes. You can even use them for each node, if needed.

 

[Rob Ruffo]

Yes, those are the transfer modes. You can even use them for each node, if needed.

But how would I use a tracked window to create transparency? Sorry to bug you, I've been wanting to layer 2 different r3D settings for a long time.

 

[Doug Beatty]

Answers

 

[Rob Ruffo]

Answers

That's an unfriendly, jerk's response. How is being unpleasant with people helping you out in your career so far? I phoned a friend who is a colorist and he informed me that you can add an alpha input to a grade, connect the matte triangle to it, and get alpha-based layering in the timeline. It has nothing to do with transfer modes like "overlay", which si why I couldn't figure it out, and is new since 8.1. That took me about 2 minutes to write. I like to be helpful.

 

[John Tissavary]

basically what you want is two tracks, then create an alpha output on the second video track, create a branch (second node that does not lead to the image output) with tracked window that leads to the alpha output. That way you'll 'see through' the second track down to the first.

As to your comment about layering 2 r3d settings, if you're using R3D, you can't mix r3d settings if you're referencing the same clip in the master settings. What might work is if you copy / rename a clip so that you 'fool' resolve into thinking it's got two different clips.

 

[Paul Nordin]

Awesome tip John! Came at a perfect time for me...just before a client showed up to review a grade with several split screens, which thanks to you are now implemented in Resolve.
Cheers