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!”

I really like the concept of this plugin / standalone and how easy to use it seems. As far as I know exist integration with photoshop, lightroom and AE. Here's the AE version at work (русский)

3D LUT Creator is color correction software. It can transform colors in LAB color space and save corrections as 3DL file, that can be loaded to Photoshop CS6 or other image and video editing software.

3DLUT Creator is a standalone program, that can load images in TIFF, JPEG and other formats, and can save TIFF, JPEG, 3DL files. It requires a PC with Windows x32 or x64 installed. MacOS users are known to be able to run it with Wine and Crossover. 3DL files are platform-independent and can be used in variety of image and video editors, such as Adobe Photoshop, After Effects, DaVinci Resolve and others.

and some photoshop action and explanations (русский with subs)

3D LUT Creator is currently in a closed beta testing stage. If you want to try beta version with limited functions, contact me at 3dlutcreator at gmail . com You can preorder the full version for $50 and you will also be getting current fully-functional beta versions.

Funny enough I found this through VK ;-)
gashô

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)

Since it's Friday I decided to make a color grading tutorial for you guys on how to create the cinematic golden look as you can find in the beautiful film A Very Long Engagement.

I'm doing this all inside of Adobe Premiere Pro since that's the most common software you guys asks me to do a tutorial on.

Hope you'll like it!

https://www.sgo.es/mistika-insight/

Not to be confused with a ‘Stylized Look LUT’ – I created the BozBMDFilm_to_Rec709 Utility LUT out of a need to make my own color grading life easier when dealing with the Blackmagic BMCC / BMPCC Cinema Camera Film LOG and RAW files. And now I'm making it available to you.

Download Page: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/

The LUT brings out the contrast and color values captured by the BMCC / BMPCC in Film or RAW mode and strives to preserve highlight and shadow detail [more examples can be found on the download page]

Though it's not free, I think the small asking price of £3.00GBP (approx $3.80USD) is enough to take a leap of faith on. Made a difference to my work flow as I’m sure it will with yours :)

Download Page: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/

Thank you.

It was described in the following paper "Automated Colour Grading using Colour Distribution Transfer” by F. Pitié & al.

Although there already were other similar techniques, none of them seemed as promising as this one because not only was the color palette of the source image transferred to the target image, but also its average luminance and contrast. I decided to give it a try. I programmed the algorithm with of few tweaks of my own and applied it to a bunch of random photos taken from the Internet.

Below is a Vimeo video showing the results of the experiment:

• in the first part I applied the look of 70 different source images onto the same target image,
• in the second part I did the opposite: I applied the look of one unique source image onto 70 different target images,
• finally in the last part I cross-processed a few pairs of images, exchanging their roles as source or target,
• all photos were processed with the same standard parameters and the results are raw without any post-processing.

Bottom line: although the technique doesn’t work every time, it has a high success rate and delivers very convincing results on stills.

Next step: see if it holds up on real footage.

Vimeo clip (password: photolook) :

Enjoy!

Curious if anyone knows what cameras and lenses they used for the Season 2 premiere.

My cine D settings are 0, -5, -5, -5, 0. Everything else is default.

From now onwards - I'm using 4400k for daylight shooting

It displays data of Rec 709 YCbCr and fixes pixel location where you like to read color changes - you see changes during color grading at defined position.

Tip for MAC: take care about huge shadow around Windows, this acts like a filter if you pick close by

Cheers,

D

Cheers,

D.

Storyboard

The storyboard feature allows you to organize and sequence a set of clips into a rough cut. Add clips to the story, change the sequence, and edit in/out points for individual clips. From there, render your storyboard out to a single file for review; the perfect solution for keeping your team informed and in sync, right from the start.

Color correction

Work in the same High Dynamic Range and Ultra-Wide Color Gamut as professional cameras. Set source, convert-to, and grade-in color spaces. Apply a look profile. Use tone curves, color wheels, and color correction sliders to adjust color while viewing the waveform and histogram displays. Transcode files that carry the new color adjustments, or save the settings as standard ASC-CDL to apply later in the finishing session. Compare before-and-after adjustments by setting the preview display to a before, after, split, or 2-up view

Logging and simple editing

Edit mode enables additional logging, adjusting of in/out points, creation of subclips, and first-pass color correction.

Transcode or copy

Export Mode can export files in their native formats as well as a wide variety of NLE-specific formats. During this process, files can be renamed with a prefix or suffix, creating a more intuitive reference as they move to the editing stage.

http://www.sonycreativesoftware.com/catalystprepare

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

Does anyone know how to get this grade with Magic Bullet Looks? I've tried raising shadows and lowering highlights then decreasing contrast but it doesn't look nearly similar to this. Please help, this is like a puzzle that's been driving me crazy!!

Now for the instructions! 1. Import your video into photoshop 2. Right click your video in the layers section and change it to a smart object (Important) 3. Now go to the filters section in photoshop and add the camera raw filter to your video. 4. Adjust the highlights and shadows as you would like then click done. 5. Go to file>export>render video>adobe media encoder>quicktime uncompressed 6. Now wait for it to render (It will take A LONG TIME) but it will be worth it none of the plugins in any of the other video suites have this much capability when handling highlights and shadows) that's why it take so much longer to render. 7. Enjoy your results and have an excellent day i really felt i had to share this because i have been trying tons of plugins and they never worked well enough. Also i should add that you can finish your grade in davinci, premiere, after fx, final cut etc. Good Luck

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

Here's the download link: http://jmp.sh/e5IXKH1

I just answered a question I got a few days ago in this video. It's about using a flat profile picture style as well as setting up some of the settings in your camera to make it as flat as possible, and why you should leave some settings although everyone says you shouldn't.

Let me know what you think of these thoughts!

1. Remove artifacts and de-noise.
2. Balance your shots by adjusting BLACKS/MIDS/WHITES, SATURATION and WHITE BALANCE.
3. Relight within a shot using power windows or masks.
4. Add gradients, diffusion and other lens filters.
5. Add vignettes
6. Grade your images
7. Simulate a film stock of your choice
8. Resize and sharpen

Since the introduction of Digital Cameras it became easy to film and to learn making indie films, you just grab your camera and experiment with it. However the look of the digital footage(even color corrected and graded) still leaves amateur and domestic camera impression, the digital footage doesn't look as good as straight out of the film camera.

What is it about film that people like so much? Simple - it's color. Maybe some will say dynamic range, some will say the motion and flares. But the best feel about the film is that it looks unique and cinematic. People say that film has a unique color processing that can never be achieved by a digital camera. I take a more scientific approach and after many researches I found some breaking points in simple After Effects effects profiles and LUT usabilities and achieved unique fake color caps which gives that beloved film feel. The limited color brightness is one of the most important things when trying to emulate film look.

The hardest part in grading Digital footage is that it needs to be RAW or LOG, that means a flat footage taken out of expensive cameras. Then it is graded digitally by shifting colors of keyed parts, adding tints and editing curves. Amateur and Indie filmmakers sometimes doesn't have all those REDs and Black Magics and ARRIs and other beautifully named machines and anyway they want to look pro, so what we all indie filmmakers do is not called grading we just do the color correction - just create some interesting looks by shifting and tinting video. But there is certain points and colors that will leave that digital and domestic feel in the DSLR video even when it is color corrected. The colors overbright, and oversaturated areas doesn't change with color correction. Many of indie filmmakers lowers the saturation, but what happens is that they desaturate all areas of the footage so colors in shadows becomes undersaturated. I tried to fix it by collecting some unique braking points of Adobe After Effects CS6 as known as ColorGhear techniques but instead of doing it manually I tried to automate the process. The process is not grading nor color correction - it's something very different and unique and is used as a simple preset for After Effects CS6, which will be available soon for just a few dollars ($5-$10).

So I made some tests. At first I didn’t even think that I would come up with something interesting but now I actually need your opinion, it is usable? Does it really make a difference and most important – does it make the footage look like FILM (kodak). It does certain things to a simple footage: adds color bright limit, adds saturation limit ONLY to oversaturated areas, increases saturation to undersaturated areas, makes overbright colors(not whites) more visible and appealing on screen (for human eye).

There was a guy who tried to create and then disappeared his plug-in known as "Filmvision plug-in" I think he used similar techniques.

What do you think ?

Also I will make a video with just original color limiting process because the current video also affects the overall saturation and makes it more blockbuster Blue Orange type of thing.

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