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Where can I adjust the range for lift, gamma and gain? They overlap way too much.
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[Kent Kumpula] “Yeah, but not only is it more difficult to get used to… I am not sure we can use it as it is now. It is very difficult to work with, when you have set the shadows (like taken out any colortint in the blacks) and then go on adjusting the highlights you mess up the blacks again, because the highlightcontrol affects the shadows too! Seems very weird…”
I am a little surprised at that quite frankly. The Resolve works great with industry standard tools and most colorists I know who use it haven’t mentioned that at all. But hey, to each his own. If your colorist doesn’t like it then 86 it and set up one he or she does.
I don’t think I would like the parameters you mentioned with user defined ranges for the controls. Certainly not clip by clip. You would alter how your system reacts to your hands variably for each clip? Zoot Alure.
Dave Pickett
Colorist
Jam Edit – Atlanta
http://www.jamedit.com
http://www.davepickett.com -
Yeah, I am a bit surprised too, haven´t read anything about anyone with these “problems”. I just checked colorista and it affects almost along the whole range too, but not quite as far as Resolve does (and I think they start to “fade out” earlier along the brightness-scale). Adjusting the highlights will not affect the black point, the blacks stay black.
So probably a quite small adjustment of the range would be enough.
Perhaps it has to do with us handling old films with weird twisted colors, different parts of the image is twisted differently compared to new footage? And we don´t have the luxury of spending hours upon hours on a few minutes of footage. We need to chew through several hours of footage each day, for each colorist.
So it is more of colorcorrection than grading, and a bit more “rough cut corrections” with mainly primaries. When transferring old family films from 8mm and 16mm film, the clients have hours upon hours of footage. And they are not prepared to take a huge bank loan just to get their films transferred… 😉
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On the Nucoda there is a control called Brightness Regions that I use frequently. One can adjust the slope, in/out point, and width of any region. Here the adjustments are superimposed over the image. Yeah, it would be nice to have this feature on Resolve.
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Theoretically you could do this with a very soft luma key, no?
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Ah, yeah, the “Brightness Regions” looks like exactly what I´m talking about.
Luma key? Perhaps. But it adds yet another step that needs to be added and adjusted every time…
For now, I think I will step back and wait for Resolve to evolve before I take it into our production line. Not having audio on exports is already a big disappointment, all fiddling with XML imports and stuff takes a bit time (batch import would save time), and now this. The brightness regions not being what suits us and not being adjustable.
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Resolve’s Lift (Black), Gamma (Mids) and Gain (White) operate exactly as they do on the 2K. Lift or Black pivots around the 100% white point and the Gain (White) pivots around the 0% or black point. Gamma is applied after Lift and Gain and raises the image values by a power as set by the position of the Gamma control. This means that adjusting the gamma does not change the 0% or the 100% values of the image. This can best be seen using a linear ramp.
What you are asking for is for the pivot points to be adjustable. Some color correctors do provide this but these are typically used when color correcting for film deliveries and working in Log space. Resolve probably needs adjustable pivot points for film deliverables, now think what would happen in linear (TV) space. If the pivot point was set to 50%, as you adjust the gain down, the gain would reduced to the 50% point but levels below this will lift off black, just like adjusting the “Contrast” control in Photoshop and even less desirable.
Custom Curves do provide the ability to adjust levels of the image independently, i.e. white levels can be adjusted without affecting the mids or blacks. If points could be added to the Custom Curves for lows, mids and highs and mapped to the appropriate trackballs, perhaps this would provide the best solution.David Catt
ColorScene -
thats what the luminance curves are for …you can specify what part of the so called hilite or miss you want to affect by just plotting points on the curve. as far as the overlap…thats the whole point in having 3 controls..when you push the miss up you can drag the whites down a hair to compensate…..this is how color correction has worked for decades…..so plat with the curves…especially the luma curve and you’ll soon see that you can affect any part of the image you want…simple! and flexible!
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use the luminance curve controls for more precise control…simple!
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Sure, the curves can be used. But it is not as fast as using the colorwheels for color corrections.
Lets say you need to adjust the highlights, they are tinted towards magenta… On the hi-colorwheel this is easily and quick to adjust, compared to the curves that need more fiddling and you might need to adjust several of the curves for this correction.
As I explained somewhere in this thread, we need to do sppedgrading, no time to fiddle with the curves for all corrections. Sometimes they are needed, sure, but we cannot use curves for all corrections. Fast grading with a control surface is what I wanted to achieve. If you´d use curves all the time, there would be no need for a control surface.
And the way Resolve reacts now, if you d make this adjustment for the highlights you would change the whole image all the way to the blackpoint, changing the blackpoint too. Sure, I think the overlap should be pretty big to give good results, but not so big that you change the blackpoint of the footage with the highlight controls.
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