feature film

[Oliver Peters]

“Resolve really is geared toward colorists who enjoy using curves.”

Well, maybe. Resolve really has quite a few controls and a colorist can easily work in whatever style they like. Personally I’m more of a lift/gamma/gain guy, but I know plenty who do almost everything in curves. I still like Color better than the newer options and given a choice between SpeedGrade and Resolve, I like the way correction is done – and the way the result looks – better in SpeedGrade. While Resolve can give you some very surgical results that simply can’t be achieved in any other similar application, I also feel that the look tends to be a bit harsh at times.

That being said, in-NLE grading is the best workflow choice, so for X users Color Finale, Hawaiki Color, Moods and Colorista give you a lot of options. Not to mention the Color Board or even homebrew color correction filters built as Motion templates that also deliver really good results. It’s more a matter of personal taste and style.

Where dedicated grading tools, like Resolve and Symphony, shine is with the “assembly line” process. Saving grades, source based grades, and so on. For some folks, that’s essential and for others, it isn’t. I agree with your idea to use Redcine X, having done something similar on a film back in the FCP7 days. It’s a great way to even out your footage and establish a basic look. Then tweak a bit more in the NLE.

Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com

[Robin S. kurz]

[Ronny Courtens] “Lance, could you send me an e-mail so I can get in touch with you?

ronnycourtens@mac.com“

Heh heh. I was JUST thinking I should suggest getting in touch with the guys from fcp.co with your story, Lance… but I guess that’d be superfluous now. ;-D

Thanks for the nice write-up!

– RK

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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich!

[Lance Bachelder]

I like Resolve and obviously there are many ways to get the job done whether it’s color wheels, curves, LUTs or all of the above. Creating secondaries, gradients, power windows and then tracking them is a breeze in Resolve. But the combo of Redcine and Color Finale worked really well and I did use a little SliceX to track some power windows. I also like the slider approach of Speedgrade/Lumetri especially having color temp slider which Redcine also has. Redcine has the bonus of a dedicated color picker for easy white balance that Resolve does not have.

It was at a Vegas premiere that I resolved to become an avid FCPX user.

Lance Bachelder
Writer, Editor, Director
Downtown Long Beach, California
https://www.imdb.com/name/nm1680680/?ref_=fn_al_nm_1

[Michael Gissing]

[Oliver Peters] “Saving grades, source based grades, and so on. For some folks, that’s essential and for others, it isn’t. I agree with your idea to use Redcine X, having done something similar on a film back in the FCP7 days. It’s a great way to even out your footage and establish a basic look. Then tweak a bit more in the NLE.”

I particularly like the way you can have both a node approach and almost a layer approach in Resolve by having grades at the clip, group and track level. So it is a bit like being able to do a match grade, followed by adding say a vignette to a group of shots or a look to a track. But then again I like a clip, track & bus approach to processing audio too so I tend to use video tracks as an organizational tool.

I find that directors are also expecting me to do some fine edit tweaks like rolling cuts to avoid tiny things like blinks or a tripod bump that wasn’t picked up on the small screens in the edit. So for me the old grade then twek in the NLE is becoming more like grade online and edit tweak in Resolve, because it often doesn’t go back to the NLE any more