In particular, since some idiot I rolled out of bed and threw on a green jacket with a green pocket square without thinking before rushing over to the stage, I needed to be a bit clever with how I created the matte. With the grade accomplished, it was time to create transparency, which I did using the blue-labeled Alpha Output in the Color page’s Node Editor, connecting a matte I created using a combination of techniques (nodes 3, 4, and the Key node), while the color adjustment nodes (1 and 2) connected to the RGB output. This wasn’t necessary at all, it just seemed like the thing to do, since I had the media and all. This was the original grade, but since I rendered out self-contained graded clips to hand off to Ripple, I ended up re-importing the graded media and using it as the basis of my next few adjustments and the edit. It could’ve been one, but I like keeping my HSL curves separate for organization. 709 using Resolve Color Management):Īfter a relatively straightforward grade, this was easily turned into: The result, owing to a combination of camera color temperature settings and shooting through the glass of the teleprompter I was using, was the following image (after normalizing to Rec. This meant that, although I recorded a log-encoded image, my camera settings were burned into the files. I shot with the BMD Production 4K camera, but I made the decision to record to ProRes HQ, instead of raw, as I wasn’t sure how many takes I’d burn through, or how much space I’d ultimately need.
Cinema grade vs davinci resolve series#
I was determined to do the entire thing inside of Resolve, to test the workflow of grading, compositing, cutting, and finishing a green-screen intensive project, all within Resolve 12. Since I knew I wanted to edit a series of dynamically changing backgrounds that reacted to what was being said, my first order of business was to grade the clip, and create transparency from the green background for compositing within the timeline. I figured, since I’m there on a stage, why not have a bit of fun with it?Ī confession – I suffer from incurable impatience between a shoot and the beginning of the cut, so once home I immediately fired up Resolve 12 and got to work.
The shoot for my goofy little rant, “The Importance of Color Correction,” came on the heels of some promos that Steve Martin wanted me to record for my newest Ripple Training titles for DaVinci Resolve 12.
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