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Team 2 Films Ltd Video Production Services based in London, UK Training | Commercial | Documentary | Corporate team2films.com
Excellent introduction and includes tips that even seasoned resolve users may not be aware of. One question. With text based editing. Is it possible to take audio files containing narration and use text best editing to align these (using the selected required text transcribed by resolve) with the appropriate video clips?
You'll want to create a hold-out-matte. You can do that with a variety of tools. including but not limited to.... paint, magic mask, root with polygon. Does that make sense?
You're a great instructor, Natalie! Thanks for putting this together. I recently introduced a friend to Davinci, and sending him this video answers a lot of the questions he'll have a long the way. By the way, you have a new subscriber 😊
Thank you for the video. I've got audio bleed and echo from several mics recording different people in one room. I'll give Dialogue Separator a try. Maybe it can isolate one voice out of many? If not, I guess that is an update I'll wish for.
thanks, will be looking at this video soon. what about After Effects and Premiere Pro MOGRTs, they are very useful, streamlining teams working efficiently. Whats the comparable function in Fusion? thanks
first of all I would like to thank you for your wonderful videos and tutorials. Thank you! Second, I would like to ask what gear are your using, i.e monitor for color grading and speakers for audio mixing? Thank you again, Shlomo
when placing the colorchecker in the scene, should it be facing the keylight, of the fill light or somewhere in between? I notice the one in this example is at an angle from the keylight and is shadowed compared to the person.
Your key and fill light might have different issues. Somewhere in between is usually best as you are trying to correct for the average or typical light in the scene. It’s important however that the chart does not catch reflections or glare as that will ruin the result. In this instance that’s why the chart is slightly off angle. Does that answer your question?
@@team2films yes it did, thank you for your response. And I suppose if I’m using a coloured fill light or other coloured light I should turn that off while filming the colour checker.
Amazing tutorial but I am super confused about something. If the 'Timeline color space' setting only effects the colour space of the grading tools, primary wheels, curves, (how they respond to when these adjustments are made), then what is the benefit to adding a CST at the beginning to convert slog3 to 'DaVinci WG/Intermediate'? Wouldn't it be the same to just have a CST to convert slog3 to 'rec709' at the end of the node graph pipeline? And then just apply adjustments before this node? Other than this one question, thanks so much for such an incredibly detailed and well thought out video :)
Thanks so much. Yes, you could work the way you described. It would be best to perform your grades while the image is in the larger colour space (slog3). The advantage of converting into DWG is consistency. If you work with media that is in different colour spaces, it’s a great idea to convert it to a common colour space. That way grades can be copied to cameras in different colour spaces (as long as they are converted into DWG), and you can get used to the way that tools operate in that common colour space. To be clear, we’d recommend you use RCM. Not CST node based color management. RCM is slick and powerful. CSTs add complication that is unnecessary in all but the rarest of situations.
@@team2films Hey :) Thanks for responding so quick. That's good to hear that you'd favour RCM over CST, cause I found that having 2x CSTs really started to slow down my project. Just to clarify then (hopefully this'll help other people too 😊) Grading in the DaVinci YRGB setting is possible, but it's flawed because you have to manually add a LUT on the colour page, to convert the slog3 footage to rec709. But then this means, if the timeline color space is set to DaVinci WG/Intermediate and you are grading before this LUT node, that you're grading in DaVinci WG/Intermediate, and then immediately going from slog3 to rec709, with nothing in between those two conversions/colour spaces. Or... you can find and add a LUT that can go from slog3 to DaVinci WG/Intermediate (the timeline color space) or use a CST that will do the same thing, then you can grade after this LUT or CST and you'll be grading in the DaVinci WG/Intermediate colour space with an slog3 conversation already on your footage. Or you can use DaVinci YRGB Color Managed, and have this conversation happen in the background, so I apply an Input Color Space on the clip I'm working with, which would transform it from slog3 to whatever myn timeline color space is set to (DaVinci WG/Intermediate in this case.) Then when I apply any nodes in the colour page and grade, you'd be automatically grading in a DaVinci WG/Intermediate color space (if the timeline color space is set to DaVinci WG/Intermediate) , and then when you export out the clip, it will be transformed into the 'Output color space' that has been set. If this is all correct then I think I finally get it now 😂 But if I'm still mistaken I'd really appreciate to know where I've gotten things wrong. Thanks.
@@HeyAdamGrasso 1. Davinci YRGB (non managed) is not a flawed workflow. It is just a different workflow. There are scenarios when you do not want color management, or you would want to do it manually with nodes. 2. When in DaVinci YRGB (non-managed), setting the timeline colour space to DWG does not affect the image. The image is unmanaged. 3. It’s unlikely that you would want to use LUTS for converting into DWG when CSTs are available. LUTs are flawed as they apply average transformations, not perfect transformations. 4. Yes, your understanding of node based color management is correct. If the first node converts slog3>dwg and the last node converts dwg>rec709 all your grades in the middle happen in dwg. 5. Yes, your understanding of rcm is correct. All grades automatically happen in the timeline color space, but are converted to the output color space when viewed on screen or when exported. 6. It’s good to remember that RCM uses the same code as CSTs but in the background rather than in nodes. So using RCM is about efficiency and workflow rather than performance gains. It should be near identical in terms of performance and quality.
@@team2films2. Ah ok, so even though there is an option to change the 'Timeline color space' when using the 'DaVinci YRGB' Color science setting, it doesn't actually do anything to the image or change the grading controls in any way? Am I correct in thinking that only the 'Output color space' has an effect when using the 'DaVinci YRGB' Color science mode in the Color Management settings?
To you both, I’d like to thank you for producing such straightforward and easy to follow videos. I’ve ordered one but I’m a bit confused because I don’t know how to get DaVinci Resolve 19 for iPad because my understanding is the panel only works with that version.
Hello! Thank you so much. We’re glad you are enjoying our videos. We’re not sure when Resolve 19 for iPad will be released. We expect it to be relatively soon though. In the meantime, the panel will work with 18.6, but only the core buttons work. Sorry for the delay in v19 coming to the iPad.
@@team2films that’s very kind of you to take the time out to respond, I appreciate giving the volume that is often not possible. I read about your course and am tempted, due to your excellent delivery and style of teaching. I’m holding out though for something that’s around HDR workflow. I’m actually quite surprised that there is very little on this given that cameras, iPhones and someone can shoot in HLG, that iPads, iPhones and whilst I appreciate their expensive, the XDR pro monitor can all do a reasonable job of grading for a HDR output. That RU-vid can now accurately know what the player device can handle and deliver the right SDR or HDR content means I’m wondering what I’m missing that everybody seems to be so fixed a downgrading to Rec.709. ☺️
Great sharing! You can try VideoTranslatorOnline, which is a Discord bot developed based on Discord. The slash command "/transcribe_to_subtitles" can convert videos and audios into subtitle files, and can translate subtitle files into any language! Or you can use "/subtitles_to_subtitles" for subtitle translation!
Surprisingly, your channel really deserves high praise. It is like a picture painted by a talented artist that speaks for itself. I admire your style, editing and color scheme.
Love this video. I remembered that I used this software many years ago. Makes me feel to get back into creating content frequently and making my edits better.
Yeah, the magnetic timeline is great. Although for some workflows it can be counter-productive. Two recommendations for Final Cut Users. The Cut page offers a similar 'magnetic' experience to Final Cut. It's not the same, but there are elements that will definitely feel familiar. The Edit Page's Trim Edit Mode is another feature that you'll want to get familiar with. It makes edits ripple in your timeline. Hope that helps. If you have any more questions, please say.
@@team2films Thanks for the response! actually i'm having trouble wrapping my head around managing libraries In Premiere and FCP, you have library files which you can share. In DaVinci, it seems to manage them itself and they're not easy to hand-off to somebody else if you're not using the Blackmagic Cloud. Am I missing something?
Great support, many thanks! DaVinci color managed is very powerful. Actually I had to add a LUT to my dji drone footage (which one?). Switching from FCP. Will buy this Studio version for its AI tools, magic mask, voice/music management… What about the added value of NPU (new Copilot+PC & ARM version)? Not a pro, but I consider buying your course as well. Greetings 🇨🇭
Hello! 👋 thank-you so much for watching. RCM color management does have options for DJI Log. Are they the correct ones for your camera? It’s awesome that the dev team have been optimising resolve for windows arm platforms too. The course is great for beginners too! Hopefully you’ve seen on our channel that even when we cover advanced topics we do it in a way that doesn’t leave anyone behind. If you have any questions, please reach out to us using the contact form on the website. We’d be happy to help! Thanks again for watching, we appreciate having you here!
Glad you liked it. To be clear, FCP X is a great program and has some particular advantages. There are things we like about how both programs handle speed changes. We hope you enjoy experimenting with Resolve.
I still can't stand DaVinci timeline, make it resemble premiere pro then we'll talk. They clearly didn't create it as a cutting tool, I still cut everything in premiere pro before importing for grading and other stuff. YOU NEED BOTH.
Colour Grading uses clip locking... you only lock one clip at a time. So you can have several colourists in the timeline simultaneously, they just can't be on the same clip.
OMG, I just realized, I was watching a lot of your videos, and I’m almost embarrassed to say this, I was not even subscribed yet. I just remedied that 🎉
