A couple weeks ago I finished color grading the music video ‘Slow Burn’ by Rebekah Wiggins. I wanted to give everyone a look into my thought process, technique, and workflow.
If you haven’t seen the music video, check it out at the bottom of the post. Before and after shots also at the bottom.
I did all my grading in Davinci Resolve Lite. It was perfect timing because the new version came out about a week before I began. To read my article about the new version of Davinci Resolve Lite, CLICK HERE.
Yesterday Resolve announced it’s update to Resolve Lite, moving from Version 8 to Version 8.1.
Along with classic bug fixes and compatibility fixes, Resolve added one more feature to their “not so trial style” software… Unlimited Color Correction nodes!
This is huge. In the release previous, the user was limited to two. This was a great treat alone because you were still able to use all the tools of the $995 version, but just in a limited capacity.
Some of the bigger things that you ARE limited to in the Lite release:
Can only Grade and export in 1080p
EXTREMELY Limited Stereoscopic support
No Realtime Noise Reduction
No support for Resolve Control Surface
… Yes, that’s it.
For the traditional indie filmmaker, this version is PERFECT. Especially considering the pricetag. Very few low budget filmmakers are mastering in 2k, and even fewer are diving into 3D. So go grab it, play with it, and enjoy!
I originally saw this posted at FreshDV, but I had to repost it.
There is something about seeing those old pictures that ground me in what is most important in filmmaking. It’s all movie magic.
Modern day filmmakers are so much different than those of our previous generations, and I think a lot of times it’s easy for us to put today’s technology on a pedestal. I feel like with each week we deem a new product more necessary than the next. More dynamic range, less grain, better bit rates, and new sensor technology. All these things are good… But they make us loose sight of why we are making movies. Out goes our ambitions of scripting the next man who’s “Mad as Hell,” or rediscovering our mortal enemy is “my father”, and in comes our concern over what LCD feild monitor to use.
Don’t get me wrong, with new technology, comes new filmmaking, I’m not denying that. But just remember why we do this. To make movie magic.
What you DIDN’T see coming: Now, Automatic Duck is offering all of their old products… FO FREE!
That only leads me to think, why would they be giving their sole product away for free? The only answer I have: Adobe has something up their sleeve that is even better than what Automatic Duck had to offer. I’m at the edge of my seat, and downloading this right now!!
I have always been a skeptic of the MacBook Air… It seems like such a dumbed down computer that it would not ever be worth the cost of the thing. In addition, no 3g (this seems only logical to have considering it angles to the “mobile” market), low end specs, and very little RAM… Well, I will now hold judgement.
Simon Richardson, at Escape Studios, is now going to test the feasibility of running a compositing program on the measily MacBook Air. And hopefully, he will shatter my conceptions.
Photographer/Cinematographer Vincent Laforet, has gotten a first taste at the Canon EF mount adapter for RED’s new EPIC camera.
The Epic is capable of shooting 120fps at 4k, in the Red RAW format, which is what the entire video is comprised of. ISO’s varied from 800-2000
”7 minutes at 68°F in Ansco 47 for Isopan” represents “normal” to me. I have no idea what the actual effective gamma is, nor do I care. I could consider this degree of development as yielding Gamma = 1.0 or being Development No. 9 or Operation H, or any other symbol I choose. But why should I inject an unnecessary and confusing symbol for a perfectly simple statement of procedure? “Isopan/Ansco 47/68°F/7minutes” is definite and easily expressed and understood as the means of obtaining my ”normal” negative.”
Admittedly, I do pride my technical prowess. … Continue Reading