Scarlet Footage - DaVinci Resolve Color Example

[Jeetu Chawla]

While, i've read a lot of M. Most's posts & gained immense knowledge from those, and i can't thank him enough for how much i've benefited from his knowledge...

This thread & the video tutorial by Patrick has been very helpful as well...

Like always, lets please encourage every effort to share knowledge with us... correcting errors is obviously great, but when wrapped in encouragement it's well received

Cheers ~

 

[stu aull]

Nice to have Mike dropping in to offer the Pro overview - but Patrick we newbies appreciate your in-the-kitchen-on-the-mac efforts to get us acquainted with Resolve!! My thanks is ongoing and I'm looking forward to seeing more great stuff!
Posts like this are what make this Forum, this Community of Users, ROCK!

Stu Aull
Alaska

 

[Marc Wielage]

I never stated that if you are doing a long form grade that you should take the approach shown in the video.

Just bear in mind that sometimes, less is more. When you have upwards of 2500 or 3000 shots in a feature to do, in a limited amount of time -- like a couple of weeks -- it's not practical or realistic to throw 10 nodes on a routine, everyday shot. One LUT, one node to get the levels down to some vestige of normal, and then another node to create a look (if necessary). And then maybe another couple of tracking nodes to pop up certain characters or pop down the background.

If there are photographic issues to solve, then and only then would I start hammering away with another half-dozen nodes, windows, secondaries, and keys. And those days do happen, but not that often. I've seen commercial sessions wind up with two dozen or more nodes, but those are the exception, rather than the rule. The trick is to try to avoid winding up with a node that undoes something you did much earlier in the signal path. Once that happens, things have a bad habit of looking very strange and unnatural, and this is something you really have to learn by feel and experience.