DaVinci Resolve 12 features a new, modern interface with a lighter overall color scheme and new fonts that help reduce eye strain and make it easier to work for long sessions. The new interface is scalable and has been designed to look great on high DPI monitors, such as retina displays. New top down navigation speeds up layout selections and also gives users more flexibility to customize their workspace.

The new multi-camera editing feature of DaVinci Resolve 12 lets editors cut programs from multiple sources in real time. DaVinci Resolve 12 can synchronize camera angles based on timecode, audio waveforms, or in/out points. The source monitor displays a grid containing the camera angles and plays them all back in sync while the editor makes cuts to the audio and/or video.

In addition to multi-camera editing, DaVinci Resolve 12 also features several enhancements to the core editing tools. All trim modes, multi-slip, slide, ripple and roll have been extended and editors can now select multiple points for dynamic trimming and asymmetric trimming of clips, even if they’re on the same track. Timelines can be nested, edited together and expanded or collapsed in place to greatly simplify editing of large multi scene projects. New transition curves let editors create and edit custom curves for transition parameters and new on-screen controls let editors see and adjust motion paths directly in the timeline viewer.

DaVinci Resolve 12 includes an entirely new, high performance audio engine that offers higher sampling rates and greatly improved realtime audio playback performance, including reverse playback and tape style slow motion scrubbing during dynamic JKL trimming. Both VST and AU audio plug-ins, along with their custom interfaces, are now supported and can be used on individual clips or entire tracks. Audio parameter adjustments can be recorded and now contain editable automation and full curve editor support. For the first time, editors will be able to export projects directly to ProTools via AAF for audio finishing.

Media Management in DaVinci Resolve 12 has been redesigned to accommodate editorial workflows. Customers can now manage projects and media using new copy, move, transcode, relink and consolidate tools. Whole projects, including media can be archived and restored with ease. Resolve 12 makes it easier to find media in large projects by letting users create smart bins that can display footage based on metadata tags. Users can now import media by simply dragging it in from the Finder or Windows Explorer, or by using new “Favorites” for one click access to commonly used media folders on disk.

DaVinci Resolve colorists will find incredible new tools that give them even more creative grading options than ever before. Resolve 12 improves upon DaVinci’s legendary advanced color science by adding support for DaVinci’s own color managed timelines as well as ACES 1.0 transforms, making it easier to get consistent results, especially when working in facilities with managed pipelines.

The core grading and color correction tools have also been improved with a new, easier to use curves interface, automatic color analysis and matching between two or more clips, an incredibly accurate 3D perspective tracker, and a new 3D keyer with improved matte finesse options. Colorists can now define their own smart filters, convert any window to a bezier, collapse multiple nodes into compound nodes to simplify their view, ripple grades across multiple clips, and flatten pre and post-group grades into a clip’s individual grade.

DaVinci Resolve 12 also now supports remote rendering so customers working in larger facilities can distribute rendering jobs to other Resolve systems that are on the same shared database and shared storage.

With dramatically improved editing, DaVinci Resolve 12 now has the ability to integrate with other NLEs even better. Edit timelines can “round trip” to other editing software and more of settings, plug-ins and edits are preserved. For example when importing XMLs from Final Cut Pro X, DaVinci Resolve 12 can now import multi-cam clips and preserve all the original camera angles. Also, audio support is greatly improved to match the audio timeline in Final Cut Pro X. This makes collaborative workflows better and allows different people in a facility to use the tools they prefer instead of being forced into an inflexible company wide platform.

“DaVinci Resolve 12 is an incredible release that we think both editors and colorists are going to love,” said Grant Petty, CEO, Blackmagic Design. “We’ve built in the features customers have been asking for and, with the addition of multi-cam and some of the other great new editing features, we think that Resolve is perfect for both creative editing and finishing. It’s still the only system that lets customers switch from editing to grading with the click of a button, giving them the fastest, highest quality no compromise workflow. Best of all, customers can install DaVinci Resolve Lite and use it on real projects for free. There is no monthly subscription, you don’t need to be connected to the cloud, and you don’t need to buy any proprietary hardware!”

The 3090 is not faster/sometimes a bit slower than my previous Radeon VII. I had a similar problem when trying to speed up NeatVideo with two Radeon VII - seeing no gain (even when using a special NeatVideo beta version specifically made for multi GPU use - big thanks to ABsoft).

The support team at ABsoft/NeatVideo are really friendly and did a fantastic job in pinning down the problem: The data is sent from the CPU to the GPU with about 13 GB/s, but the return path is only about 7 GB/s on my system - which is way to slow!

I'm using a Threadripper 2920X CPU on a Gigabyte Designare EX mainboard and as the PCIE-controller is inside the Threadripper, the problem is most likely the CPU. But is it only my CPU, is it only the 2920X or is it every Threadripper?

I need your HELP:

Everybody who has a Threadripper (1000- and 2000-series) and is willing to run a small benchmark tool (all in all takes less than 5 min.), please send me a PM. Any graphicscard (even old ones with DDR5 VRAM) will do, as long as its in the PCIE 16x slot.

So, lets see if I just got unlucky with my Threadripper, or if AMD has intensionally crippled there flagship CPUs.

To access the old thread - go here: http://www.personal-view.com/talks/discussion/1817/colorghear-toolkit-color-grading-system-for-ae/p1

So as not to be misleading, ColorGHear is a system, and not so much a plug-in... a school of thought supported through the ColorGHear Toolkit -which is a set of MODULAR PRESETS for After Effects and ColorGHear Pro - which is a set of MODULAR LUTs for Davinci Resolve, FCP7, Premiere Pro, and Adobe Speedgrade, and is not what you'd consider a classical style plug-in.

The toolkit isn't a collection of drag and drop "looks" like Magic Bullet. It is a series of nodes which contain a set of grading instructions or "macros" (a set of operations), specially designed to work with each other to speed up your workflow. Along with these nodes, comes a system of grading which replaces having to perform the minutia of individual corrections by hand. Learned through the online tutorials, this system will give you speedy and precise grades. It is this precision that prevents you from "bending" your images like with standard methods which is what allows me to get such drastic and dramatic grades from normally flimsy DSLR codecs.

As a professional colorist, I noticed that because of the way the color channels in RGB video are tied together; that typical methods like the Color Balance tool, and the 3-way Color Corrector will actually bend an RGB image out of shape. So in order to maximize the full potential of any given image, I had to learn a method of grading that would avoid damaging the footage. I called this method "precision grading."

I also noticed that in executing these precision grades, I was performing the same operations over and over. I began taking notes on what these operations were, and trying to determine if it were possible to create a set of interacting preset nodes that would save me time in having to repeatedly perform these operations.

I soon discovered 37 distinct sets of operations that would serve to correctly grade any, and all footage. 6 of these macros cancel each other out, and only 1 of those 6 could be effectively used at any given time leaving me with 32 nodes - giving me 1,024 possible combinations. Over a thousand distinct grades. Over time, I added some other tools to the set which now sits at 74 nodes all of which are designed to be used in conjunction with the other nodes. (69, if you subtract the 5 canceling nodes) which brings the total to 4,761 distinct grades.

The precision method I mention above is demonstrated here. Along with how the 3-way Color Corrector damages your footage.

The power of ColorGHear is presented in the video demonstrations below.

ColorGHear is available at http://www.ColorGHear.com

(ColorGHear Pro not yet available to the public)

https://www.dropbox.com/s/ydzbv8pfthldynm/Screenshot%202018-06-10%2007.15.22.png?dl=0

I wrote a little Tool called WinRewrap. It will Batch Process MTS Files to MP4/MOV and adjust References to the MTS accordingly in your XML File. It uses ffmbc. ( http://code.google.com/p/ffmbc/ ) I wrote it primarily for exchange between the new Sony Vegas Pro 12 and DaVinci Resolve. But it can be used for any Batch rewrapping task of MTS.

Of course, this is a very early version, so please let me know any problems that may occur. Note: Audio was converted to AAC in v0.1. Later version keeps the audio stream.

I hope you can use it as well as I can. Ideas, suggestions and Bug Reports, please post here.

regards

FatPig

Homepage: http://www.fatpigtures.com/software/

The Homepage is still in development. Anybody who would like to donate a small amount is appreciated :)

WinRewrap v 0.4

Changelog 0.4:

• Added Cancel Option while ReWrapping
• Added PCM and No Audio option

Changelog 0.3:

• Added Option to Convert Audio to AAC
• Added Check for 0-byte Files (returns error now)

========================================

Requirements:

• ffmbc.exe (Release was tested with version 0.7.1 rc7) put it in the same folder as the WinRewrap exe.

• Windows 7 / Vista Users may experience errors related to writing permissions.

Fix: Turn up your UAC to "always notify". if you turn it to not notifying, some applications are automatically denied access. like winrewrap.

to fix those, copy WinRewrap and ffmbc.exe to your Project Folder. (Tip: WinRewrap starts with its containing Folder under the Browse Dialog, If its your project Folder you can just click OK.)

========================================

Features:

support for rewrapping .MTS Files to .MP4 and .MOV using ffmbc.exe

this is essentially a frontend for ffmbc, designed for batch processing project folders containing multiple MTS Files and optionally an XML.

This enables project export from The New Sony Vegas Pro 12 to DaVinci Resolve, and can also be used for normal batch processing of entire Folders from GH2, etc.

It will automatically replace the MTS extensions to your new Container inside the XML, so you can automatically use it with the rewrapped files.

Known Issues:

Big Endian PCM Audio is not supported in Stream Copy Mode as of Version 0.4 (AF100) WinRewrap can, however convert to little Endian PCM Audio.

Bug reports please in the dedicated thread on personal-view.com

http://personal-view.com/talks/discussion/4775/winrewrap-batch-process-mts-to-mp4mov-with-xml-adjustment

regards

FatPig

I want to buy a Resolve 12.5 Dongle (before BM switches to the online registration) - has anybody a spare one to sell? Please PM me. (As I'm located in Germany, Europe would be best to avoid import taxes.)

Cheers

I need some advice here, can I somehow adapt my workflow to stay in AdobeRGB profile of the Dell monitor, and to have an accurate representation of colors in my editing and grading software (resolve)?

I don't have an external grading monitor, nor I plan to get one anytime soon. I don't need absolute accuracy here, only some decent reference point.

In a nutshell: Its 3 trackballs, 3 dials, 2 reset buttons per dial/ball, 2 extra buttons A and B, it costs arround 370EUR and connects via USB.

The housing is made of (cheap) plastic and so it makes some noise when moving the balls, but the trackballs and dials are quite nice. I think its "ok" for the price.

I'm using it with Davinci Resolve and the setup is quite easy (less than 5min): download the Tangent hub software, install it, connect the Ripple, start Resolve, select Tangent Elements Panel (the Ripple simulates the Element TK), have fun.

The balls/dials controll the left 3 colour wheels/bars of the Colour page (I have not figured out how to controll the right most wheel/bar). The left reset buttons reset the respective colour wheel, the right buttons reset the respective colour wheels and luminance. Extra button B toggles "bypass all grades" on/off and I have no idea what the A button does.

I have not used the panel for serious grading so far, but from some quick testing I can say:

• The panel sits very stable on its four rubber feet..

• Its nice to be able to controll 2 or 3 colour wheels at once - much better than one by one.

• The trackballs are nice, heavy and feel good, but I have to adjust the sensetivity (if thats possible) as small changes are a bit imprecise.

• Its much better than using the mouse for the colour wheels... MUCH BETTER! (Thats the reason why I bought the Ripple.)

• I wish the B button would only bypass the current node, not all nodes. I have not found any way to reassign the A and B buttons to other functions (but maybe its possible).

• The right trackball sometimes does not move equally smooth in all directions - it seems one of the small support balls under the trackball gets stuck. Maybe this is only with my panel? (If you have a Ripple, please let me know if its the same on yours.)

Some tipps:

• Take the trackballs out of the housing if you want to pick up the panel and carry it arround! They are not enclosed by the housing and easily fall out (they are heavy!).

• If the panel wobbles on a flat surface, relocate the USB cable - it doesn't like to stay in its groove.

As you can see in the pictures, I'm going to use the Ripple (3 trackballs) with a Midifighter Twister (16 programmable rotary encoders) and an Icon Istage (lots of buttons) for my colour grading setup. The Ripple does work out of the box. The Twister works really nice with Controllermate and I'm nearly finished with the program to control a lot of functions in Resolve with it. The Istage might be replaced soon, as the hardware is quite nice for the low price, but the software/firmware is total crap... really, its the worst I have ever seen. I will try a Korg Nanopad2 soon, hopefully this will work better.

Has anybody still that .dmg or .zip and can upload it for me to some file sharing platform please?

Cheers

I am selling my fully loaded MacBook Pro Retina. It has all the updates available at the time I purchased it such as fast processor (2.7GHz turbo boost to 3,7GHz), 16GB Ram and 512 SSD. It comes boxed as new with all the original packaging. It is in perfect working order and looks brand new. Since the day I bought it it has had a rubberized case on, a Moshi keyboard protector, Moshi trackpad protector and Moshi palm rest protector on. I can leave these on for you or remove them. I bought the laptop in Korea so as well as the normal western alphabet there is also the bonus of korean symbols on.

It works flawlessly with video production or graphic design. I run Davinci Resolve on it and also the whole Adobe Creative Cloud as well as FCPx.

I am only selling because I recently upgraded to an iMac 5k so I have no need for a laptop anymore.

I am also throwing in a Hyperdrive with 128gb micro sd card. This fits in the SD card slot flush and provides additional 128gb storage. perfect for documents or storing movies on leaving the SSD available for more intense applications.

I am selling for 1400GBP. I will post via Hong Kong Post or DHL via express and trackable method with insurance.

Email me directly if you have any further questions. (stuart.howe@gmail.com)

Detailed Spec:

Retina Display 15.4" (2880x1800) i7 2.7Ghz (Turbo Boost to 3.7Ghz) 16GB of 1600Mhz DDR memory 512GB SSD Intel HD Graphics Nvidia Geforce GT 650m with 1GB DDR5 memory 720p FaceTime HD Camera

Ports: 1x MagSafe 2 2x Thunderbolt 2x USB 3.0 Headphones Dual Mics 1x SDXC card slot 1x HDMI

802.11n a/b/g Wifi Bluetooth 4.0

Thanks

for more info: https://iaremrsir.wordpress.com/2015/04/08/spaces-raw-cineform-raw-for-davinci-resolve/

and to get the plugin (top one): https://iaremrsir.wordpress.com/downloads/?hc_location=ufi

Davinci Resolve Lite is one of the best color grading tool and now available as free Lite version. It works so far up to a Full HD resolution of 1920 x 1080 but not directly with .mts files. Sony Vegas Pro 11 does work directly with .mts files but does not export AAF and EDL files which can be read by DaVinci Resolve. Hence a easy workflow is almost not possible with implemented tools from both sites. With EDL_Convert and the application of two Vegas scripts its possible to realize an effective and efficient Workflow. Rendered .mov files will not be endless in space consumtion. You can predict the head and tail trim of the original cut in Vegas.

Workflow Overview:

a) Media Ingestion

b) Vegas Edit

c) EDL_Convert (Creates two new Text EDL files + Subfolders for Workflow)

d) Vegas Batch Render (place before Noise Reduction, Velocity Envelopes if needed)

e) Davinci Color Correction

f) Vegas Final Edit (Title, Audio Effects etc.; final Render for Presentation)

Workflow Detail:

a1) copy .mts files to logical folder structure of your computer (something like c:\originals\yyyy\yyyy-MM\yyyy-MM-dd)

a2) rename them in a logical way (something like yyyy-MM-dd_hhmmss.mts)

b1) start Project in Vegas in a separate Poject folder - save .veg file

b2) at the end of the edit use "save as" and activate "copy media with project" (this will copy all .mts files into the Project folder)

b3) save Project.veg also now as Project.txt (Text EDL) file

c1) load Project.txt file into EDL_Convert Program (creates Project_EDL_lin.txt and Project_EDL_lin.veg in Project\CCInput\ folder, Project_EDL_final.txt in Project folder) and starts Project_EDL_lin.veg of Project\CCInput\ folder by EDL_Convert automatically. Regions are applied automatically as well.

d1) apply neat video, stabilizer and/or velocity envelopes to specific clips in  Project_EDL_lin.veg

d2) Batch rendering in DNxHD format by means of A2_RegionsRender.cs. Choose Subfolder Project\CCInput for .mov files)

e1) load from this subfolder all freshly generated .mov files into DaVinci MEDIA

e2) Goto COMPOSE of DaVinci

e3) Add new empty timeline - right click on timelines area

e4) drag/drop sorted files from media files area to timeline

e3) start color grading in COLOR

e4) goto DELIVER and render graded files with original name into Project\CCOutput subfolder

e5) Move .mov Files to Project\ mainfolder

f1) start Project_EDL_final.txt of Project Folder in Vegas (audio files will be linked to .mts files, Video files will be linked to .mov files)

f2) edit the rest (put titles to your video, etc.), save all as .veg

enjoy....

Version History

v1buid003:

Did add head and tail trim

v1build004:

Did add new scripts A1_RegionsMark 24p, A1_RegionsMark 25p, A1_RegionsMark 30p. They will take care that you can render footage with mixed framerates to the target frame rate either 24p, 25p or 30p. This is done by automatically adjust "Undersample rate" as well as "Playback rate".

All RegionMark scripts will remove regions which might be set before and then subsequently sets the new regions.

Added A0_RegionsRemove which does only remove regions which might be set.

Added A0_RunEDL_Convert which will execute EDL_Convert.exe directly from Sony Vegas

v1build005:

Did correct frame shift. DaVinci Resolve thumbnails are now displayed correctly. Before that, thumbnails did show last frame of previous clip. Had to make changes in A2_RegionsRender.cs script as well as EDL_Convert.exe.

v1build006:

EDL_Convert program: introduce link to sony vegas; option to autorun Project_EDL_lin.txt, save it to Project_EDL_lin.veg and apply RegionsMark script. All RegionsMark scripts: automatic choose first track if nothing was selected; can be progressed from EDL_Convert to save .text to .veg

Install:

https://www.dropbox.com/s/gjnc673jymve3ug/EDL_Convert%20v1build006.zip

Copy all *.js and *.cs files to the script folder of Vegas Pro (something like: c:\Program Files\Sony\Pegas Pro 11.0\Script Menu)

Copy EDL_Convert.* files to the "C:\ProgramData\EDL_Convert\" folder of your computer. If you want to put it to another folder, please open the script A0_Run_EDL_Convert.js with a notepad editor and change the line var InstPath = "C:/ProgramData/EDL_Convert/EDL_Convert.exe"; that the path will fit. Please note: The script language is a little bit tricky. Sony Vegas does use "\" for making remarks within the code. Instead of "\" you have to use "/".

Enjoy!

Here is an example:

I have updated all of my drivers and have the latest version of Resolve 11: Asrock 970 Extreme 4 AMD FX 6300 Dual GTX 760 w/ 2GB 16GB Corsair @1600MHZ

Please if anyone knows how to fix this, I will be very, very grateful, as I am coloring a feature soon and need to be able to export correctly!

ProLUT is a color grading pack of looks based on real films and movies.

It comes in every format you can think of so that you can use it in whatever software you're using.

Watch the demonstration video here:

More info http://www.davidhjlindberg.com/?product=prolut

This is a no charge upgrade for existing customers and will be available in Q3.

What's new in DaVinci Resolve 10

Resolve Live

• Grade Live incoming SDI video and save grading snapshots with metadata and stills

New Editing Enhancements for Project Finishing

• Multi track video and audio editing
• Extensive clip trimming support
• High quality optical flow image processing
• Static, lower third, scroll and crawl titles
• Compound clips
• Three point and four point fit-to-fill editing
• Transform, crop and opacity video effects
• Multiple Take selection
• Expanded XML and AAF roundtrip support
• Built-in generators for bars and test patterns
• Audio level controls with track mixing
• Matchframe linking for source and timeline viewers
• Stereoscopic 3D editing
• Media Pool list view now includes a filmstrip view

New Color Correction Enhancements

• Support for an unlimited number of industry standard OpenFX plug-ins per clip
• Unlimited Power Windows per node
• New Gradient Power Window
• Power Window presets to combine multiple windows
• PowerCurve Window freehand drawing and processing enhancements
• Copy and Paste of Tracking Data between Power Windows
• Power Window rotation available on the 4th trackball on the BMD control panel
• Motion Effects palette - In full version of DaVinci Resolve
• Chrominance control for Spatial noise reduction - In full version of DaVinci Resolve
• Temporal noise reduction - In full version of DaVinci Resolve
• Motion blur - In full version of DaVinci Resolve
• Enhanced blur with 10x range increase
• Contrast and pivot controls in 3-Way color and Primary palettes
• Split screen viewer display with SDI output
• CinemaDNG and ARRI Raw decoder options for half and quarter resolution
• Debayer and image scaling quality modes for systems with low GPU power
• Keyframe Timeline metadata now saved with Gallery Stills
• Drag and drop stills between Gallery pages
• Grab missing stills for all clips
• PowerGrades will now be append to the node editor with double click
• Enhanced Lightbox display with colour correction controls and SDI output
• Node based PTZR controls
• Corrector Node RGB/YUV selector for channel isolation
• Splitter and Combiners Nodes for single channel effects
• Optimized latency while grading complex node graphs
• Render Cache metadata is now saved with the project
• Global grade bypass for quick before/after grade review
• Auto Stabilization improvements to track shots with camera pans
• Additional External Matte Freeze and current clip settings
• Burn-in options for individual and global formatting and whether to display item labels
• User selectable LUT selection for GUI Viewer and Scopes
• Printer Light Hotkey grading
• Additional timeline filters to sort the colour and deliver timelines
• Keyboard shortcut to full screen viewer mode
• Media and Edit page viewer now includes a zoom to fit selector
• The switching clip selection now also in the node editor options menu
• Projects can now be arranged and saved within project folders for easy organisation
• Projects and project folders can be cut and pasted between project folders
• 3rd party panel improvements

Media Support Enhancements

• AVI clip decoding
• JPEG 2000 decoding
• Viewer display with side-by-side audio waveform or VU display options
• Auto Sync of Dailies audio and video using matching time code
• Edit clip metadata concurrently with audio and video sync
• User definable preset list of metadata to be displayed on screen
• Log ACES support
• Sony Slog2 IDT for ACES
• Canon C500 IDT for ACES
• Additional Media Pool fields for clip metadata includes shot, scene, take, angle, circled and camera roll #

Deliver Enhancements

• Audio tracks are now displayed in the timeline with video clips
• Audio VU meters with dBu and VU range selection
• Additional render option to JPEG 2000 for DCP generation
• Additional render resolution templates
• Render settings now include optional render job version name
• Integration with easyDCP using license purchased from EasyDCP (Available for Mac and Windows)

General Enhancements

• OpenCL support for multiple AMD GPUs on Windows
• Menu bar support on Linux
• Linux CentOS 6.3 support
• General performance and stability improvements

Camera : Panasonic Lumix GH3 Music: White Varnish - Silence City Original Mix Video Edit: Sony Vegas Color Garding : Davinci Resolve, VisionColor OSIRIS

Canon 24-105L Canon 70-200L Rokinon 14mm

No gear except camera tripod and lenses. Hope to do some more creative uses coming up.

Color graded and edited in Davinci Resolve Lite using a mix of Cinelog LUTs, and Vision Color LUTs. Very light noise reduction on the early shots applied with neat video, and a small level of grain added throughout the video to give it a a little filmish kick. Download original to get a much better idea of grain appeal. I myself have come from GH2 land and so the raw experience has been a joy. I personally enjoy the color grading process so it is very nice to have all the latitude and detail to work with.

Any comments or questions, don't hesitate to ask.

Enjoy.

New user interface has been designed to be fast to use and to eliminate unnecessary clicks and settings to get working fast. New user interface improvements include a new streamlined project import, export and selection workflow, scrubbable media thumbnails to speed up shot selection, production metadata fields for entering on set shot notes and larger color control palettes to give faster access to grading tools. There are also new graphical palettes for control of power windows, keys, sizing, tracking and stabilization, camera raw .

New version features 'Log grading' in every corrector node, audio playback support up to 16 tracks per source clip and audio renders in both Quicktime and MXF, additional and faster automatic stereo 3D image alignment tool, plus new stereoscopic 3D floating windows and new 3D monitoring options.

For version 10 talks go to

http://www.personal-view.com/talks/discussion/6641/davinci-resolve-10

Just wanted to show you my latest work. A short film which I edited and graded.

If you want to read more about the editing and grading you can visit this blogpost in which I've explained everything a bit further: http://davidhjlindberg.blogspot.se/2013/04/the-road-of-life.html

The Road of Life

The Road of Life - Grading Breakdown

Just wanted to let you know that I recently launched my new site which will a bit as my old blog (http://davidhjlindberg.blogspot.se/) which maybe some of you have seen, but it will be way more active in terms of updates, competitions, posts and articles.

The same time as the launch I decided to start another grading contest which maybe some of you have been a part of in my previous ones. If you want to know more about the site and the grading contest, visit my blog and read the first post! http://lindbergdavid.com/

I've already got entries to the contest but there are two weeks left before it closes, so make sure to be a part of it!

All the best, /D

Just thought I'd share some color grading that I've been fiddling with. I shot a bunch of footage at the local carnival a month back, and now I'm working on grading it for one of my personal music video projects.

I've used my own take on a bleach bypass process that simultaneously adds the teeniest touch of blue to the lows, then with a couple more nodes, I've tweaked exposure and of course that nasty red/orange/yellow/green zone of color (that seems to always make or break skintones) has had some subtle adjustments.

Lemme know what you think!

http://www.flickr.com/photos/68917223@N05/sets/72157634804640007/with/9375308962/

shot 95% of this in 2 days just to do a little more testing of the weight of the BMCC on a Glidecam HD2000 and a 12ft CobraCrane. I didn't put a whole lot of time into grading, and this isn't a video showing off DR, raw ability or flaws, just simple "FLoATing BMCC" video. If you notice I purposely shot on some rough terrain to see if any jello would pop up but It did fine.

I shot some footage at 50fps on my GH3. After ocking a movie on Premiere (at 25fps) I moved it to Resolve 9 Lite via an XML file. For some unknown reason some clips (only some of them) show different in/out points than the Premiere version. All clips were shot in a 30 min time window. I suspect that it might be because of the Timecode settings of the original clips, inherited from GH3 settings (maybe cause it shifted from 3:xx:xx to 4:xx:xx during shooting?).

What have I done wrong? If it's related to Timecode settings: How should I set my camera to prevent this from happening? How can I fix it in post (either Premiere or Resolve)?

Thanks for answering!

P.

i currently own a macbook pro 15" 2011 edition with: 2.2ghz i7 , 4gb 1333 ddr3 ram , AMD radeon 6750m 512mb graphics card, 500GB TOSHIBA MK5065GSXF sata hard drive.

how can i speed this system up? i am looking at getting 16gb of ram (which this series of macbook pro accepts) and a solid state hard drive of some sort with fast read write speeds i presume?

is there anything i can do on the graphics card front to speed up programs like premier , speed grade, after effects and davinci resolve lite? (i know i cant change mine as its solderd in but can i plug an external one into my system?

also my max resolution on this screen is 1440x900 - not large enough for davinci can someone tell me if there is a way to get an external moniter running from my macbook with high enough resolution to work on davinci? how do i do this?

im running lion 10.7.5 by the way.

ps sorry vitally i know this thread is a bit of a mess , but i simply do not understand computers enough to be able to find the information i need.

thanks in advance everyone