- May 6, 2020 at 3:33 pm
The keyframe situation has been put on pause. I’ve got to get the clips more in color sync then what I have. I have made this video to help explain the situation. If i’m missing anything, please let me know and i’ll add that information. Thanks again.Some contents or functionalities here are not available due to your cookie preferences!
- May 6, 2020 at 4:37 pm
That automatic match grade-thing rarely works, so one would do the matching manually using the tools provided.
If you have no idea what’s going on I would recommend purchasing some training courses from Ripple Training and going through that. Or hiring a professional.
- May 6, 2020 at 4:46 pm
Just as you wouldn’t hop in a Formula-1 racer to learn basic driving skills, you shouldn’t expect to be able to operate a sophisticated color grading tool by jumping in to fix a complex issue without first learning the basics of Resolve and the basic principles of color grading.
Color grading is not just about the look of your video, it has underlying science and standards that a colorist can’t ignore, and Resolve has tools and techniques that aren’t just intuitive like cutting picture and sound.
So, for you to be successful at grading and matching these types of clips, you either to learn color grading principles in general, and the Resolve app, or you’ll need to hire someone who is. And, the only way for you to learn these things is to learn Resolve and grading by starting at the beginning and learning via tutorials, which are all over YouTube and the internet.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
David is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro Legacy forum.
- May 6, 2020 at 7:40 pm
First of all, I think you went in the wrong direction. Why did you darken the angle looking up at her? Don’t you want to simply brighten the two-shoot on the sofa? (This was horribly lit, BTW.)
You can certainly brighten it, but it will likely get a bit noisy. The same tools you would use in any other NLE’s color correction controls (curves and/or low/mid/high wheels and levels) would be used in Resolve as a starting point. Stay away from all automatics.
Oliver Peters – oliverpeters.com
- May 12, 2020 at 8:17 pm
You are 10,000% right. It’s what I’m finding out. I’ve recently gotten out of college. Prior to that, I had 10+ years of video editing under my belt.
I started my own business remote Editing and added Color Grading, audio mixing, and basic VFX to it. I’d found a lot of jobs needed people who could do more than one thing. So I took classes to learn and grow. I had been doing color grading in Premiere and had recently purchased Davinci. I’m not to pigheaded or proud to say that I wasn’t prepared for the extreme depth this program offers in color grading. I guess in a way, I got into the car not expecting it to be a F1 car.
That being said, I thank you for your honest and very direct feedback. I appreciate it. I had already come to the decision that my next project would be STRICTLY editing while I did more personal color grading, foley work for practice and gain a more in-depth knowledge than what I had in college.
Again, thank you.
- May 15, 2020 at 6:57 pm
thank you so much, the clients wants the brighter shot to look like the darker sit down shot. This is what they want.
- May 15, 2020 at 8:38 pm
[Jonathan Reed] “thank you so much, the clients wants the brighter shot to look like the darker sit down shot. This is what they want.”
Then you are in a no-win situation, but I certainly understand the dilemma. The big issue is that you have a light source on the ceiling. You can’t simply darken the shot overall. You can make the dark portion darker. While that’s technically doable, it’s still illogical, because that same light should be casting some light onto the people sitting down. But, in any case, good luck.
Oliver Peters – oliverpeters.com
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