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Grade School: Building a Node Graph w/ a Pro Colorist

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02:52 Initial thoughts and explaining the math behind parallel nodes
10:56 Is the parallel mixer node equivalent to a layer mixer on the add mode?
12:14 Insight on the outside node
21:10 What is the creative interest of the splitter combiner? And why use it over the RGB mixer tool?
25:35 Uses of the layer mixer
32:15 Do the Core Element LUT pack go after the parallel/layer node stack? What if we apply the tone curve and the color palette in a parallel mixer?
35:42 What is your method inside Resolve for getting subtractive colors and why do you use DCTL instead?
44:22 Does working with fixed node trees make it easier to keep track of rippled node changes?
46:02 Is it better to darken everything around the subject or to brighten it after?
47:17 If I render in DaVinci Wide Gamut which codec would be preferable?
48:42 Can you apply your LUTs in the timeline section to affect all the clips in the project? Or in the post group location if those are grouped?
50:06 Do you have a tutorial somewhere with settings and procedures for optimal Youtube HDR and a custom LUT for SDR down conversion delivery?
52:03 How do you manage nodes when clients want you to constantly switch between version A and B of every little adjustment you make?
55:17 Can complex node trees like the subtractive saturation one made earlier be a substitute for more complex math like a DCTL?
57:34 Where in the node graph do you set the trim pass for multiple deliverables like P3, 709 and HDR?
59:24 Can you talk about how the saturation works inside Resolve?
1:04:40 Final thoughts and conclusions
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