Toby Tomkins
Forum Replies Created
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UPGRADE WAVE FIRMAWARE
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Great!
Is there a full changes list anywhere?
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In order to do that you will need to use a CMS (colour management system), profile the DaVinci GUI video display with a probe, create a calibration LUT, and then load the LUT in the resolve settings under GUI display lut.
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This is indeed terrible. The saturation scale isn’t great either.
It would also be nice to be able to set ranges or have a log preset for these ranges.
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Use remote grading. See the manual.
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Have you tried exporting a LUT of the grade look (no windows etc that won’t translate into a LUT) out of resolve and applying the LUT in AE to before/after noise reduction in AE? Then you can see if it is AE or Neat changing the look and troubleshoot from there.
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Glad to have helped!
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There are xml subtitle import plugins for FCP, so you could go XML>FCP>XML>Resolve very easily…
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You could create subtitles in FCP7 or FCPX on a video track and then simply export just the track with subtites as an XML and Resolve would import this XML and re-build the titles in a new timeline, which you could then copy and paste onto the timeline with the picture.
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It’s not ideal as you have to set up and manage these other nodes, doubling your normal node count per qualification + 1 (the source with the LUT). If you have several qualifications that’s a lot of nodes all of a sudden!
What would be really clever is a relative scale, using the relative min-max of HSL values that are in the source image. This relative relationship could also preserve qualifications to an extent if the key source node grade changes slightly (if you are qualifying downstream of a correction for whatever reason, maybe a pre-clip group grade changes for example!). That would be very nifty! What do you think Peter!?