Class 1: Backing up before starting on v19
Don’t rush into upgrading to v19. When you are ready make sure all projects and databases are backed up as you never know when you’ll need to recover an old project for a client
- Warren’s intro.
- Backing up and upgrading to v19.
- New settings and what I use as a default.
Class 2: AI color tools
The new AI tools in Resolve are really cool. We have to embrace AI as a way to speed up our color grading process, and not see it as a negative in our industry
- Editing based on AI transcript of speech.
- Remove nasty wind noise whilst maintaining dialogue.
- UltraNR the new AI Automatic Noise Reduction tool.
- Relight OFX to add virtual lighting to a scene.
Class 3: Color Management and what node should I use?
The Scene Detector is a fantastic tool that is running even faster in v19. Always remember to save an EDL and SC list after you have checked your Scene Cut list
- Automatic Color Management
- Breaking a baked sequence from Premier Pro using the Scene Detector.
- Changing the input Color Space of a clip.
- The difference between a Serial, Parallel and Layer Node.
Class 4: Setting up a project including ACES VFX pulls.
Are you always waiting for a locked cut, me too. If you have the project media you can make a start and get organized before the XML arrives. This includes making ACES VFX pulls
- Turning on Remote grades before starting
- Labeling your stills automatically.
- Making Proxy files.
- Advantages of using a scene referred Color Managed workflow over the standard Display referred workflow.
- Changing the color management of RAW and non-color managed drone clips.
- Add a few ‘hero’ shots and start to create some looks.
Class 5: Conforming from Premiere Pro or FCPX
What happens if you need to work in Premiere Pro or collaborate with an editor who does? The process of getting an external timeline into Resolve is not easy so this lesson highlights the process and looks at the pros and cons.
- Conform the ‘Zombie’ sequence using an XML
- Adding an offline reference movie to check the conform
- What are the issues with conforming?
- Finding and fixing missing clips, including wrong frame rates, framing differences and missing text.
- Conforming a second XML sequence that will use Remote grades to get the color from your initial graded sequence.
Class 6: Remote Grades and VFX shots
- How remote grades work.
- Adding the ACEScg VFX clip back into your timeline
- Media Management to trim RAW clips from the supplied HDD to your fast local storage.
Class 7: Making a fixed node structure and using node-based color management with RAW files
Working with a fixed Node structure has huge speed and col management advantages. Being able to copy and paste nodes or Ripple changes to the same node throughout your sequence is a real time saver
- Building a simple fixed Node structure.
- Grading Arri RAW, BMD and Sony with Color Space Transform OFX.
- What is the order of your color process?
- Is grading Camera RAW better?
Class 8: Color Slice, Color Warper and Magic Mask
Subtractive saturation is a term we often hear when researching traditional film lab grading techniques. The new v19 Color Slice makes it much easier to adjust density and subtractive saturation to a color
- Advanced timeline color management using DaVinci WG/Intermediate with Arri RAW, BMD and Sony RAW clips
- The v19 Color Slice tool.
- Color Warper Hue and Luma tools.
- Magic Mask explained
Class 9: Fixing problems with OFX plugins
We don’t always get the best quality material, so it is important to know different tricks to improve picture quality. The Resolve Studio OFX plugins have some fantastic solutions for this
- Deband OFX to disguise 8-bit banding.
- Sky replacement OFX
- The new RGB Mixer tool
- Fixing drone aliasing with Sharpen & Soften OFX
- Magic Mask with the Background Defocus OFX
- Cutting Flare and flicker with De flicker OFX
Class 10: VFX Shots and mattes
The tracking and keying tools in Resolve are amazing and are improving all the time, but sometimes we want to utilize the matte that a VFX artist has created. I recently used embedded mattes from an EXR VFX clip on every shot of a big commercial and it saved me so much time……hang on, I was on an hourly rate!
- ACES VFX EXR clips with an embedded Alpha channel.
- Fixing the world’s worst Green screen then comping it into the ACES clip using the 3D Keyer
- Using external mattes.
Class 11: The Resolve Trackers
- Using the Point Tracker with a Parallel Node to color car headlights.
- The Window v Point Tracker.
- Animating and fixing a broken track
- The FX tracker in conjunction with the Patch Replacer OFX.
- Animating a shape whilst tracking with Keyframes.
Class 12: Previewing and exporting
Power Bins are a fantastic way of keeping all your favourite clips in one place. Trailers, reels, looks or maybe a skin tone shot that you just love. If it exists on your machine then a Power Bin is just a short cut to it
- Grabbing a Gallery still keeping the tracking info.
- Using your Gallery name on j-peg export
- Power Bins
- Previewing Gallery looks with Split Screen.
- Exporting your project and stills to share or archive.
Class 13: Warren’s Resolve 20 Update: Color
- Magic Mask 2
- Chroma Warper
- OCIO CDL Transform OFX
Class 14: Warren’s Resolve 20 Update: Editing & Audio
- Project Media Location
- New Smooth Cut
- Frame Replacer
- Copy and Paste attributes
- DaVinci Voice Training
- Voice Convert
- Voice Over Recorder
- Stacked Timelines
- Split PSD Layers
Class 15: Warren’s Resolve 20 Update: Editing & OFX
- New Depth Map OFX
- Vertical 9×16 Editing and Color GUI screen layout
- MultiText Title Tool
- New Keyframe Pallet
- Animated Subtitles