墨尔本视频调色 2024

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How to NORMALIZE your AUDIO in DAVINCI RESOLVE

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My Favourite Fonts

Artifakt Element

Bahnschrift

Century Gothic

Eras Light ITC

Era Medium ITC

Georgia

ISOCPEUR

Lucida Bright

Lucida Calligraphy - Italic

Lucida Fax

Lucida Sans

Magneto

Malgun Gothic

Microsoft JhengHei UI

Microsoft Yi Baiti

Mongolian Baiti

Monotype Corsiva

MS Reference Sans Serif

Old English Text MT

Papyrus

Perpetua Titling MT

RomanS

Segoe UI Historic

Segoe UI Symbol

Showcard Gothic

Simplex

Stencil

STLiti

Swis721 Lt BT

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How to adjust contrast

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Teal and Orange Secret in Seconds (No LUTs)

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List of Nodes


WB

Contrast

Colour Balance

Teal Orange Look

Shadows Colour Adjustment

Sharpness

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Nodes：多个输入（三角形接点）、一个输出（四方形接点）

绿三角：Foreground
黄三角：Background
蓝三角：Effect Mask

JasonCooper

你觉得达芬奇比PR好在哪儿

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JasonCooper 发表于 11-5-2021 11:53
你觉得达芬奇比PR好在哪儿

PR 我没有用过，所以没法深入评论。我一开始接触这个行业，就是从DR入手的。因为DR的色彩管理一直以来都是电影行业内的标准，而且经过这么多年的不断升级，已经发展成全能一站式视频处理软件。提供了专业级的色彩管理，视频剪辑，特效，及声音处理等全部功能。

PR，据说也不错，用户众多，不过实现不同功能需要调用不同软件，来回穿插，而且死机频繁是用户埋怨最多的地方。

希望对你有帮助。


...

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What are printer lights in resolve?

Printer Light Hotkeys in DaVinci Resolve can help you quickly white-balance shots. Printer lights are a hold-over from photochemical color timing processes before the invention of digital color grading. Filtered light (red, green, and blue) was shone through the film to change the balance of color in the shot.

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Basic Look Book

Warm Look
High Contrast
Low Contrast
Cool Look

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Davinci Resolve Color Correction Tips for Beginners
Author: Stephanne Alfaro



https://www.beyondthesight.com/d ... 1ecb0df22c4952582f5

现在的我，读完这篇教程，感觉相见恨晚呀。相信对大多数刚入门的人来会更有收获的。

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达芬奇备份大全

想要：重装电脑系统，或者重装达芬奇软件，如何确保所以重要的文件以及多年积累下来的各种宝贝插件等东东不被丢失，那就要确保所有重要的相关文件和档案得到完整的备份，操作如下：

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Some Node Trees

idt
nr
grain
pri
curve
hsl
glow
odt

~~~~~~~~~~~~~~~~~

HL Control
NR
Arri-ACES
Primaries
HSL
Vignette
Contrast Pop
ACES-REC

~~~~~~~~~~~~~~~~~

NR
Color Contrast
Primaries
HSL
Glow
Vignette
Contrast Pop
CST

~~~~~~~~~~~~~~~~~

pri (Gamma up/down, Gain down/up, add Contrast, ...)
some parallel nodes (sky, skin tone, ...)
vignette
outside
glow
look

~~~~~~~~~~~~~~~~~

nr
pri
glow
grain

~~~~~~~~~~~~~~~~~

node 1: separate the color
node 2: pull the key
node 3: create the look

~~~~~~~~~~~~~~~~~~

nr
primaries
lut
bg + skin
look adj
vignette
outside
sharpen
grain
global adj
creative lut

~~~~~~~~~~~~~~~~~

nr
primaries
look + skin
lut
look adjust
vignette + high light
sharpen
grain
global adjust

~~~~~~~~~~~~~~~~~

Clean White Look - Commercials

nr
primaries (exposure + contrast)
balance (saturation)
look (clean white) + skin tone + pants + sky (highlights)
look adjustment
vignette
global adjustment
sharpening (midtone details)
grain

~~~~~~~~~~~~~~~~~

8 bit footage - NO qualifier

nr
exposure
balance
skin tone
look
vignette
outside
global adjustment
sharpening
grain

~~~~~~~~~~~~~~~~~

Creamy Film Look

nr
exposure
saturation
look
skin
look adjustment
glow
grain

~~~~~~~~~~~~~~~~~

nr
exposure
saturation
look + skin
look adjustment
vignette
global adjustment
sharpen
grain

~~~~~~~~~~~~~~~~~~

nr
exposure
bw
look + highlights
look adjustment
vignette + outside
glow
mid details

~~~~~~~~~~~~~~~~~~

nr
primaries
background + skin + dress (Layer Node)
look adjustment
vignette
outside
sharpening
grain
global adjustment

~~~~~~~~~~~~~~~~~~

nr
exp
sat
skin
dark grass + light grass + p + sky
look adj
vignette
outside
global adj
sharpen
grain


p: Hue Vs Lum, lower Lum for all Hue in order to add depth of Hue
~~~~~~~~~~~~~~~~~~

primaries
skin + look
look adj
global adj
glow
grain

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Color Grading for Wedding Video1. Focus on skin tones, build grades around skin tones, focus on background second.
2. Focus on color seperation or color isolation.
3. Neutral whites and blacks.
4. In high key.
5. Make it dreamy.

exp
base
look + skin + highlights (P)
high key
vignette
soften
glow
grain

~~~~~~~~~~~~~~~~~~

Film Look
Rich Color, Muted Tone

idt (ACES Transform*)
exp
bal
vig
CST*** (ACES > HSV)
(Color - Node - Add Splitter Combiner Node, then 3 special parallel nodes added)*****
CST**** (HSV > ACES)
look adj (HDR palette - Global Saturation)
glow
hal (Threshold, Strength)
custom curves (tone curves, s curves)
odt (ACES Transform**)


*
ACES Transform:
ACES Version: ACES 1.3
Input Transform: Camera Related
Output Transform: ACES - CSC

Gamut Compress Type: ACES parametric gamut compress
*

**
ACES Transform:
ACES Version: ACES 1.3
Input Transform: ACES - CSC
Output Transform: Rec. 709

Gamut Compress Type: Gamut 2.4
**

***
CST: ACES > HSV
Input Color Space: ACES (AP1)
Input Gamma: ACEScct
Output Color Space: HSV
Output Gamma: ACEScct
***

****
CST: HSV > ACES
Input Color Space: HSV
Input Gamma: ACEScct
Output Color Space: ACES (AP1)
Output Gamma: ACEScct
****

*****
#1 node: hue (Only channel 1 checked)
#2 node: saturation (Only channel 2 checked)
#3 node: value/brightness (Only channel 3 checked)
All nodes can be adjusted through LGG and Offset wheels, to get adjustments on Lift, Gamma, Gain or Overall part of the image.
*****


~~~~~~~~~~~~~~~~~~

exp
bal
desat
sky+look (P)
talent
vignette

~~~~~~~~~~~~~~~~~~

exp (LGG)
bal (Sat, Temp, Tint)
look (Temp, Tint) + hue vs (HVH, HVS, HVL) (P)
k2383 (Joker) (LUT - Film Looks - DCI-P3 Kodak 2383 D65)
skin (Qualifier, GG,)
global adj (LOG, L/Rng, Blacks)
grain

~~~~~~~~~~~~~~~~~~

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Color Space & Transforms

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ACES

File - Project Settings - Color Management

Color science: ACEScct
ACES version: ACES 1.1
ACES Input Transform: Alexa or Camera used
ACES Output Transform: Rec.709

Graphics white level: 200 nits


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DaVinci Wide Gamut

File - Project Settings - Color Management

Color science: DaVinci YRGB Color Managed
Uncheck: Automatic color management
Color processing mode: Custom

Input color space: ARRI Log C
Timeline color space: Rec.709 Gamma 2.4
Timeline working luminance: SDR 100

Output color space: Rec.709 Gamma 2.4
Limit output gamut to: Output color space
Input DRT: DaVinci
Output DRT: DaVinci

Graphics white level: 100 nits

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Monitor Calibration & Printer Test Image

https://www.digitalmasters.com.a ... %20Adobe%20RGB.html

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IDT (Input Device Transform)
Converts originally captured scene into real world light values for a particular camera that is then used to create the ACES representation.

ACES (Academy Color Encoding Specification)
Color space where grading and compositing is done.

RRT (Reference Rendering Transform)
Creates an image from ACES data. Developed to create the most pleasing image to human perception.

ODT (Output Device Transform)
Allow the image to be viewed on any device with optimized color space.

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HOW TO SETUP ACES

NR - IDT - GRADINGS - ODT

Project Setting - Color Management
Color science: DaVinci YRGB
Timeline color space: ACEScct

IDT node
Open FX: Drag and Drop ACES Transform to IDT node
ACES Transform Settings
ACES Version: the latest
Input Transform: camera brand related
Output Transform: ACEScct

ODT node
Open FX: Drag and Drop ACES Transform to ODT node
ACES Transform Settings
ACES Version: the latest
Input Transform: ACEScct
Output Transform: Rec.709

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HOW TO GRADE IN ACES

- USE HDR PALETTE FOR BASE ADJUSTMENTS (JUST LIKE ADJUSTMENTS IN CAMERA)

- GLOBAL OFFSET FOR EXPOSURE (EXPOSURE - F STOP)
  This is the first step to even the exposure between shots.

- TEMPERATURE / TINT (TEMPERATURE / TINE IN CAMERA)
  This is the second step to balance color.

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HDR WORKFLOW

Project Settings - Color Management

Color science: DaVinci YRGB
Timeline color space: Rec. 709 Gamma 2.4

Enable Dolby Vision - Checked
Dolby Vision version: 4.0
Mastering display: 1000-nit, P3, D65, ST.2084. Full

3D lookup table interpolation: Tetrahedral
Make broadcast safe - Checked

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Follow The Process

Color Correction
Shot Matching
Color Grading

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DaVinci Resolve 18 正式版总算今天出来了。公测版都出到18 Beta 6 啦。

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Colour Management for Video Editors

文章用点长，但绝对干货满满。

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No Film School

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NEWS SHOOTER

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BH PHOTO VIDEO

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Delivery Highest Setting

Custom Name: ProRes 4444
ProRes
ProRes Master

Format: QuickTime
Codec: Apple ProRes
Type: Apple ProRes 4444 XQ

Resolution: 3840 x 2160 Ultra HD
Frame rate: 23.976 (24, 25)

Pixel aspect ratio: Square
Data Levels: Auto

Force sizing to highest quality: Checked
Force debayer to highest quality: Checked

Bypass re-encode when possible: Checked



~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~



Two Web Versions: Client Version for Reviews, Final Web Version for publication


Custom Name: Client Version
H.264
H.264 Master

Format: QuickTime
Codec: H.264
Use hardware acceleration if available: Checked

Resolution: 1280 x 720 HD 720P
Frame rate: 23.976 (24, 25)

Quality: Restrict to 8000 Kb/s
Encoding Profile: Auto
Entropy Mode: Auto
Key Frames: Automatic
Frame recording: Checked

Pixel aspect ratio: Square
Data Levels: Auto

Force sizing to highest quality: Unchecked
Force debayer to highest quality: Unchecked

Bypass re-encode when possible: Checked


Custom Name: Final Web 4K 80000Kbs
H.264
H.264 Master

Format: QuickTime
Codec: H.264
Use hardware acceleration if available: Checked

Resolution: 3840 x 2160 Ultra HD
Frame rate: 23.976 (24, 25)

Quality: Restrict to 80000 Kb/s
Encoding Profile: Auto
Entropy Mode: Auto
Key Frames: Automatic
Frame recording: Checked

Pixel aspect ratio: Square
Data Levels: Auto

Force sizing to highest quality: Checked
Force debayer to highest quality: Checked

Bypass re-encode when possible: Checked


Custom Name: Final Web FHD 40000Kbs
H.264
H.264 Master

Format: QuickTime
Codec: H.264
Use hardware acceleration if available: Checked

Resolution: 1920 x 1080 Ultra HD
Frame rate: 23.976 (24, 25)

Quality: Restrict to 40000 Kb/s
Encoding Profile: Auto
Entropy Mode: Auto
Key Frames: Automatic
Frame recording: Checked

Pixel aspect ratio: Square
Data Levels: Auto

Force sizing to highest quality: Checked
Force debayer to highest quality: Checked

Bypass re-encode when possible: Checked

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Instagram

Project Settings - Master Settings

Timeline resolution: 1920 x 1080 HD
For 1080 x 1080 processing

Delivery

Custom Name: Instagram

H.264
H.264 Master

Format: QuickTime
Codec: H.264
Use hardware acceleration if available: Checked

Resolution: Custom
1080 x 1080
Frame rate: 23.976 (24, 25)

Quality: Restrict to 6000 Kb/s
Encoding Profile: Auto
Entropy Mode: Auto
Key Frames: Automatic
Frame recording: Checked

Pixel aspect ratio: Square
Data Levels: Auto

Force sizing to highest quality: Unchecked
Force debayer to highest quality: Unchecked

Bypass re-encode when possible: Checked

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Points to Estimate

Be systematic, come up with some criteria, based on which you will look at grades. With time, you will just pick it up when you look at the image without lists.

First you can get to the technical parts:

is the exposure right? How about the contrast? Check the uploaded scopes! Are the highlights, shadows clean? Do they have the right color cast? Is the process clean? Are there steps that cancel each other out? Go through the breakdown! Is the image breaking somewhere? Watch the videos! Was the image better before a given step? Is there a vignette that is too strong? Is my eye directed to the subject? Does the image feel too sharp? Too soft? How is the grain? Is it the right texture? How are the two clips matching? Do they live in the same world?

And okay, in 1:1 reference matching it comes down less to personal preferences, but when it does, you could ask: does a given hue fits the palette? Or would you swing it a bit somewhere? Do you wanna see more detail in the dark areas? Does it feel too cold for your taste? Is it too pushed? Too blend? Does it give you the right mood?

So maybe along these lines you can write feedback to people, of course, you don’t have to go through all of these, and this list is by no means a complete one, the possibilities are really endless!

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https://streamershaven.blog/davi ... to-normalize-audio/


How to Normalize Audio in DaVinci Resolve 17

When creating videos, it is important to keep all of your audio at a consistent level across multiple scenes. The best place to accomplish this is at the original recording, however, it can be quite challenging to get similar recording volumes across multiple takes and different locations. Utilizing a tool called “normalize audio” within DaVinci Resolve 17, you can fix these recording clips to have matching peak volumes, resulting in a more professional production.

With that said, this tool isn’t a perfect solution for clips that have very large differences in audio. If you had a very quiet clip, next to a very loud clip, and you try to normalize the audio, the quiet clip will remain quiet, while the loud clip will only get slightly quieter. I’ll explain how to get the most out of this tool, so you can avoid this situation.

How Normalize Audio Works

Normalizing audio works by increasing the gain values on all selected audio tracks up to the highest peak volume clip within a group of selected clips. In the image below, I’ve placed an arrow pointing at the highest peaks between two clips – these peaks are what determine what the normalize audio tool will try and match the tracks to.

There is no limit to the number of clips you can select at a time to normalize, but you tend to have better results sticking to two at a time. This is because some clips might have external noises that cause large peaks close to 0dB, which prevents the tool from properly normalizing the audio.

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Q's Advices

- Get the exposure and contrast as close to the reference as possible.
- Can increase the exposure from HDR wheels, the exposure is the same like in camera.
- Can go crazy in midtones, but go easy with shadows.
- Get white white and black black.
- Get the major part in the frame close to the reference first.
- Can use print lights more.
- Work on contrast there to get the richness out of your image.
- Don't do HSL for more than 3 steps.
- Use Sat Vs Sat to tackle some too saturated hue.
- If no need vignette, don't use it.