This is the ONLY channel that explains it to you like you're an infant, so you can understand the *professional* version or word, of what you are looking for. I love this guy!
I would give 100 thumbs up if I could. I just love the way things are put and you manage to nail just the right amount of details vs being short and exact, to inform, not overburden, to reveal not bore. (I'm experienced editor) THANK YOU! Again...
Thanks, Alex, your videos are always concise and informative. The graphic interaction with the Hue vs Hue histogram pixel distribution, for me, was enlightening.
This how a real professional Explains.. Talking about each small steps.. Most of the time many other misses those small steps they are explaining only bigger things.. But he knows that small steps together would make a bigger journey❤
I'm watching many of your videos and I like very much the way you explain everything. You go directly to the point of each topic. Thank you so much for your contributions. Cheers from Buenos Aires!
All the tips were amazing! But the last one that explains how to create timelines with different formats in the same project, this one deserves a special thanks! I always work by exporting the same video to different platforms, with several different formats, and I always duplicated the project, changed the format of the timeline and exported, now my work flow will be much more agile!
Coming from a photography background, finally color grading is starting to make some sense with histogram + curves... I understand the limitations of this combination, but it is so much clearer for exposure control!
I switched to DaVinci Resolve 1 year ago primarily because I believed that Blackmagic was totally committed to continually improve this software and make it the best fully integrated editing platform available. Since then version 15 and now version 16 prove that I made the correct decision. FCPX and Adobe Premier have not demonstrated any similar commitment. AVID still stands out, but DaVinci Resolve continues to get better and better. I know that making the switch is very difficult, but 1 year on I am so glad I did it!
Adjustment clip is so useful to make a keyframed grade or effect on portion of film including several shots. I wonder how we could do before it has been added! Great channel by the way!
Respected sir , Im a beginner and have doing my photography since 2 years and i literally dont know untill now. They way u explain about the stuff inside this particular software was speechless . I definitely do recommend this channel . With love From India :)
I have been using resolve for about 1 year, and believe or not, I just using primary color wheel only. And now I realize that I miss tons of resolve's features. Thanks to you 😀👍
I would give more thumbs ups if I could. What a game changer! I thought that I knew it, but I didn't. Thank you so much! You have the best videos for Color Grading on RU-vid.
Before, in older versions of DaVinci Resolve - and I suppose it is still like that - , If you wanted to know what kind of green the bushes were, you just had to click on the green in the viewer. It would immediately make a dot in the curve window in which you were working. No confusion at all about where the green was in your curve window, and you could at once drag the new dot around the curve. Very easy.
Fantastic Tips! I can now color grade the F out of my auto repair how to videos with precision. COLOR POP! well in some places anyway. Loving DR16.. Now if they just work on stability.
always love your tutorials...just wish I was closer to help out with the audio though...have you considered maybe using a lav mic or even a reasonably priced boom mic just out of frame? It would really up the quality. But aside from that, just excellent, excellent content. And I really love how you get to the point quickly and show everything very clearly. Keep up the great work! btw...where are you located (generally)?
I've been binging on your channel as I learn Resolve! Love your content! Is there any chance you could explain what you think a good editing/grading workflow would be. I'm finding it a bit daunting knowing when and where to place effects now that it's possible to place effects directly on clips in the edit page, on adjustment clips on the edit page, with nodes on the fusion page and nodes on the color page. I have no idea which types of effects I should put where and why! There's also the issue that effects don't seem to render to cache when placed on clips or adjustment layers on the edit page but that seems to be a bug in the R16 beta, but any input on that would be amazing!
Thanks for the enlightenment. Could you please do make a video or let me know here about the bugs that you faced so far on 16? I had to run back to 15 again as 16's qualifier has stopped working and not giving me any results when I'm on ACES
What's your opinion on desaturating shadows across the timeline using the adjustment layer/clip, or using the timeline method as shown in you previous video?
Good stuff Alex. I'd love to see you address the color workflow when you have multiple cameras that don't match. If you can get them all to match using LUTs it's easy because you can apply these to the source clips. But what if LUT is not an option? How do you apply a "base grade" to every clip that comes from "camera X" without having to add them all to a group, or apply a shared node, manually?
@@ergo8039 Thanks Johnny. RCM is cool, but it solves a different problem than I'm having. Here's a simplified example. I fly small airplanes, and I can mount up to 5 GoPro cameras on the plane: 1. Inside pointed at passengers 2. Inside pointed at the instruments 3. Inside pointed out the front window 4. Outside on the top of the tail pointed forward 5. Outside on the wing pointed back at the plane All 5 cameras are exactly the same model and use exactly the same settings, but the shots from each camera will have a different look to them because the lighting is so different for the different angles. For the sake of the example, let's assume I only have one file from each camera, and the only correction I need to do is a curve to match up the brightness/contrast across cameras. In Premiere Pro I can apply this curve to the source file (it's called a master clip effect), and all the clips I take from that file will have this curve applied before any clip level adjustments. But in Resolve there is no equivalent to master clip effects. So after I go through cut/edit I have a timeline with perhaps hundreds of clips on it. I have to manually figure out which clips came from which camera. Then I can either put them in a group (and a clip can only belong to one group) or use a shared node to apply that same curve adjustment consistently. This is not only a big pain, but it's error prone and easy to break if you have to go back to edit. There has to be a better way...
In the compound mode, the histogram is not displayed in the curves tool. But still a fun program, as a free help for beginners, if you do not have money for baselight etc. By the way, will I be able to see qualifier focus one on such a histogram?
Love your video’s, but I am not seeing the histograms show up on iPhone videos taken with the new iPhone 14 pro max. Is there anything that you haven’t mentioned that will bring back the histogram?
