[Alexis Hurkman]

In Resolve, manual animation is achieved using what DaVinci calls “Dynamics.” Choosing Dynamics > Start Dynamics (Option-M) places a “dynamic mark” in the Clip tab (bottom-left corner of the Color page) at the position of the playhead. Marks are DaVinci’s term for keyframes).

If you have a Wave, the F1 button creates dynamic marks (connected by a crossfade graphic), as opposed to regular marks (vertical red lines), which are similar to “hold keyframes” in After Effects in that the effect abruptly jumps at each mark, rather then interpolating as with dynamics. There are a couple of pages in the manual, but you have to search for “Dynamics.”

http://www.alexisvanhurkman.com | http://www.correctionforcolor.com

[Alexis Hurkman]

The Wave has two buttons that change the functionality of the nine rotary controls above and nine buttons along the top of the Wave. All in all, there are five “pages” of control mappings that you can switch among, all particular to the Color page in Resolve.

Unlike the Wave software for Color, the Wave is not user-configurable for Resolve.

I myself have a multi-button mouse (just a Microsoft) that I’ve gotten used to mapping keyboard shortcuts to (Grade Off and Toggle Stillstore), and I’ve found it really handy. With the page-shifting necessary to using the Wave, I still find this to be a handy solution for frequently-used functions, and I’m looking into getting a gaming mouse with a few more buttons.

http://www.alexisvanhurkman.com | http://www.correctionforcolor.com

[Alexis Hurkman]

Thought I’d chime in as I’ve been looking into this from an end-user perspective (and for a book I’m writing). Using 3D LUTs for outboard monitor calibration of any display requires 1) an outboard LUT calibration device (usually with HD-SDI in from your workstation v-out and HDMI out to the plasma), 2) software for analyzing the monitor (with a probe) and generating a LUT that’s appropriate to your hardware (there are many different formats), and 3) a probe for doing the analysis (good probes aren’t inexpensive).

Keep in mind that outboard 3D LUT calibration only works if the display you’re calibrating is capable of the color gamut that’s required by the standard you’re trying to calibrate to. In the case of Plasma, a 3D LUT will bring the typically oversaturated primaries back into line with, say the standard Rec. 709 RGB primaries that you want to be monitoring with, as well as setting proper gamma for the display.

There are several solutions, some expensive, some more affordable. Here’s a list for your own research:

Hardware (All capable of 3D LUT processing)
Filmlight’s Truelight SDI
Cine-Tal’s Davio
Blackmagic’s HDLink Pro

Software
Filmlight’s Truelight color management system (cms)
Cine-Tal’s Cinespace
Light Illusion’s Lightspace cms

Probes (different software supports different probes)
Filmlight Truelight Probe (for Truelight CMS)
X-Rite Hubble (works with Lightspace and Cinespace)
Klein K-10 (works with Lightspace)
Konica Minolta CS series (works with Cinespace)
Photo Research PR series (works with Cinespace)

Cinespace and LIghtspace probe support has slowly expanded over time, these notes are true as of a quick look at the company websites today, you’ll want to recheck. I’m not picking favorites, each of these systems is in use in different post houses. If you’re interested in more information, there’s a lot of good info to be had at https://www.filmlight.ltd.uk, https://www.lightillusion.com, and https://www.cine-tal.com.

-Alexis

http://www.alexisvanhurkman.com | http://www.correctionforcolor.com