baselight settings for SDI and HDMI in Blackmagic ultra studio card

Baselight SDI & HDMI output setting

SDI Setup guide

Primary video output - SDI Blackmagic Ultrastudio 4k mini

Video mode UHD/DCI 4K

Signal YCbCr 422 10bit

Interleaved (2wire) HD3G-A

HDMI - ON

SDI output Scalia - 422 full to legal

Project Setting

Importance of Color Grading in Commercials - CHAT GPT 4

Color grading is a crucial part of the post-production process in TV commercials. It's the process of enhancing and manipulating the colors in a video to create a specific mood or atmosphere. Color grading can help make a TV commercial look more polished and professional, and it can also be used to create a cohesive look across a series of ads. In this blog, we'll take a closer look at the color grading process for TV commercials and why it's so important.

The Importance of Color Grading in TV Commercials

Color grading is essential in TV commercials for a few reasons. Firstly, it can help set the mood for the commercial. The right color palette can create a sense of excitement, calmness, or even urgency, depending on what the advertiser wants to convey. Secondly, color grading can help create consistency across multiple commercials in a campaign. By using the same color grading techniques across all the ads, they can feel like a unified set, and viewers will be more likely to remember the brand.

The Process of Color Grading a TV Commercial

The color grading process can vary depending on the commercial, but generally, it involves the following steps:

1. Color correction: The first step is to correct any color imbalances in the footage. This involves adjusting the brightness, contrast, and saturation of the video to create a neutral starting point.

2. Establishing the look: Once the color is balanced, the colorist will work with the director or creative team to establish the look for the commercial. This could involve creating a specific color palette or mood board to guide the color grading process.

3. Primary grading: This is where the colorist adjusts the overall color of the footage. They might adjust the temperature of the footage, tweak the shadows and highlights, or apply a color filter to create the desired look.

4. Secondary grading: In this step, the colorist focuses on specific elements within the footage. For example, they might adjust the color of a particular object or person to make them stand out more.

5. Finishing touches: The final step is to add any finishing touches to the color grading. This could involve adding vignettes, adjusting the overall brightness, or adding any necessary color effects.

Choosing the Right Color Grading Techniques

Choosing the right color grading techniques is essential to create the desired look for a TV commercial. Some common techniques include:

1. Color filters: Applying a color filter to the footage can create a specific mood or atmosphere. For example, a blue filter can make a scene feel cold and clinical, while a warm filter can create a sense of coziness.

2. Saturation: Adjusting the saturation of the footage can make the colors more vibrant or muted. This can be used to create a specific tone or to highlight certain elements within the scene.

3. Contrast: Adjusting the contrast can create a more dramatic look or a softer, more romantic feel. It can also be used to bring out details in the footage.

4. Color grading presets: Many color grading programs come with presets that can be used to create specific looks quickly. These presets can be a great starting point for a colorist to work from.

Conclusion

Color grading is an essential part of the post-production process for TV commercials. It can help set the mood for the commercial and create consistency across a series of ads. By choosing the right color grading techniques and working closely with the director or creative team, a colorist can create a stunning and memorable TV commercial.

Contact us - Colourstudio for world class color grading service in UAE.

how to color grade for blue or green chroma?

How to color grade for blue or green chroma?

Grading for vfx heavy projects is different than regular color workflow.

Key steps to follow -

1 ) Conform your edit in timeline and export the LOG to Linear Rec709.

NOTE- Fix the blue/green chroma if required to assist the chroma keying for vfx.

2) Set your look according to the vfx elements working closely with art direction/d.o.p/director for primary and secondary color grading.

3) Get file VFX comp and alpha mattes of all the shots for grading post VFX.

4) Final color grading.

(Choose any formats .exr or apple pro res 4444 for the workflow.)

the most powerful color grading tool using machine learning in FLAME

Z-depth map generator

Machine learning for live-action, scene-depth reclamation. Color correct and apply effects based on camera distance.

Human face normal map generator

Use machine learning to generate 3D surface-orientation bump maps for color adjustment, relighting, and retouching.

Human face extraction and physical defocus

GPU-accelerated rack defocus effect. Extract alpha mattes using machine learning with a new human face region Semantic keyer.

Semantic keyer for sky extraction

Isolate skies with a single click to remove clouds, add treatments to sky backgrounds, and more.

To know more about these features try - Autodesk Flame now.

Cheapest 4k color grading setup for Davinci Resolve Studio in 2021

Computer - Apple Mac Mini M1 -$1,299.00

Apple M1 chip with 8‑core CPU, 8‑core GPU, and 16‑core Neural Engine

• 16GB unified memory

• 1TB SSD storage

• Gigabit Ethernet

Monitor Setup - 2

GUI - HP DreamColor Z27x G2 -$900.00

• In-Plane Switching (IPS) Technology

• HDMI + DisplayPort + USB Type-C Inputs

• 2560 x 1440 WQHD Resolution

• 1500:1 Static Contrast Ratio

Full Screen Color Grading Preview- EIZO CS2731 -$1,177.00

• 27" In-Plane Switching (IPS) Panel

• DisplayPort | HDMI | DVI-D | USB Type-C

• 2560 x 1440 Native Resolution

• 1000:1 Typical Contrast Ratio

Video I/O - UltraStudio 4K Mini -$995.00

UltraStudio 4K Mini is a portable Thunderbolt 3 capture and playback solution packed with the latest broadcast technology! You get broadcast quality 8 and 10‑bit high dynamic range capture in all formats up to 4K DCI at 60p, and 12‑bit high dynamic range capture in all formats up to 4K DCI at 30p. Plus, the built in SD card reader lets you mount camera media directly on your computer so you can start editing immediately!

Color Grading Panel - Tangent wave 2 Panel -$900.00

• Multi Software support

• 3 x High-Resolution Optical Trackballs

• 9 x Programmable Knobs with Push Reset

• 9 x Programmable Function Buttons

• Large Ice-White OLED Display Area

This is very basic requirement for cheapest 4k color grading solution. Price may vary according to the region.

Color Managed Workflow for NETFLIX in Resolve: ACES

This is one of the many ways in which Davinci Resolve can be configured in order to be able to deliver a Non-graded Archival Master (NAM) to Netflix .

Project Settings

Create a new project, go to the Project Settings > Color Management panel. The first thing you will want to change is the Color Science settings to ACEScct. If you don’t have a specific reason to use ACEScc, it is recommended to use ACEScct. 

ACES Version will default to v1.1 which includes updated Output Transforms for HDR output color spaces. Generally, we recommend using the latest ACES version which, as of today, is v1.1.

Set your ACES Output Device Transform to match the calibration and capacities of your video display:

• For SDR, this will be Rec. 709, which corresponds to a monitor calibrated to Rec. 709 / BT.1886 with 100 cd/m2 peak luminance.

• For HDR, this will be P3-D65 ST.2084 (PQ) with the corresponding nit level your monitor is capable of. Today, most commonly, this will be P3-D65 ST2084 (1000 nits).

• Make sure the ACES Mid Gray Luminance setting stays at 15.00 throughout the whole grading and finishing process.

• Process Node LUTs will only apply in the event that you are loading LMTs as LUTs to the project. The setting will vary depending of those LMTs were generated.

An important note is that when the ACES Output Device Transform is set to None, Resolve will output ACES images a.k.a. ACES 2065-1 or ACES Linear (AP0).

Bringing in Clips

By default, for RAW clips, Resolve will automatically debayer images into ACES and you should see a normal looking image. 

For non-RAW formats (such as DPX, ProRes, XAVC, etc), Resolve may not automatically detect the color space, so you will have to manually select your ACES Input Device Transform (IDT).

You can do this by right-clicking on a shot or group of shots in the Media Pool, as shown in the screenshot below. 

Example: you shot XAVC on the Sony F55 using the SLog3-SGamut3.CINE color space, and bring these clips into the Media Pool. Resolve is not able to recognize this based on the metadata, so you must manually select “Sony SLog3 SGamut3CINE” from the ACES Input Device Transform dropdown list.

You may also set your Project to default to a specific ACES Input Device Transform. This may be handy if the majority of your clips will be in a common color space and cannot be auto-detected. 

TIP: Sorting your Media Pool by “Format” or “Video Codec” columns can help batch-assign IDTs to groups of clips highlighted at one time. See screenshot below for an example.

Rendering

When you are ready to render your deliverables, open up the Deliver page.

IMF Master, Video Display Master (VDM) or Quicktime references

When rendering images in display color spaces, such as those required for IMF Master deliverables, a VDM source for IMF creation, or Quicktime references, make sure your ACES Output Transform is enabled and matches the intended display type.

Non-Graded Archival Master (NAM)

For the Non-Graded Archival Master (NAM), make sure you turn off the ACES Output Transform in order to output ACES AP0/Linear data as shown below.

NOTE: For any interchange of images between facilities or softwares in an ACES pipeline, such as VFX plates, the following method should be used.

Ensure you have the following render settings:

NOTE: The setting ‘Force debayer to highest quality’  will automatically select what Resolve considers to be the highest debayering quality for each RAW file on the timeline. This may differ from your own findings. Please feel free to select your preferred debayering algorithm instead, and untick this option if you prefer.

Note: Resolution may vary depending on the project’s framing, but should be at UHD resolution (3840 x 2160) or higher.

1  Since the ACES color space is Linear, the ACEScct and ACEScc spaces were defined as logarithmic (log) working color spaces, so that traditional color correction tools would feel similar to other log color spaces.

2  Rec.2020 is not used for Netflix deliveries at this time.

3  half = 16-bit half-float

4  No Output Tranform will output ACES Linear aka. ACES 2065-1 (AP0).

Client can attend Color Grading Session via Private Live Streaming

Now, Client can attend Color Grading Session via Live Streaming

It’s time for work from home and now clients can attend color session via live streaming. The new feature in Assimilate scratch can change the industry forever and hope the technology evolves.

• Stream the current timeline out to Facebook, Youtube, or a custom streaming server
• Capture other live rtmp streams to comp into your own live stream

Color collaboration features

• Share projects between multiple systems in a single facility on shared storage
• SCRATCH online project repository to work with multiple artists simultaneously on a single project from places all over the globe.
• SCRATCH remote: connect multiple SCRATCH systems from all around the world for a creative grading session.
• Stream SCRATCH output directly to a media server for others to live view your creative work.
• Publish to SCRATCH Web, Facebook, Vimeo or YouTube to share content online and in a secure manner for review and approval.
• Sync Player: slave one or more SCRATCH players and (remote) control playback from the master system.

For live color grading session - contact me.

Netflix color pipeline

NETFLIX Color Pipeline

Color Pipeline Requirements

It is important to ensure that images are stored in the widest possible color space until the very final stages of the color pipeline. This is easily achieved by using ACES, which keeps images in a high dynamic range, wide color gamut space, and allows the user to simply select the Output Transform for the target viewing display. This can also be achieved while working in the dominant camera color space with careful, pro-active color management and the use of conversion and viewing LUTs. Both methods are outlined below.

Color pipeline documentation must be shared with production and post-production ahead of the first day of photography. 

Non-ACES Pipelines (Camera Native + Show LUT)

• Working Color Space ust be defined and communicated to all departments.
  • Examples: Sony SLog3-SGamut3.CINE, REDLogFilm-DragonColor, Panasonic V-Log-V-Gamut, CanonLog3-CinemaGamut

• Output / Show LU must be defined and shared between all departments.

ACES Pipelines

• ACES Versio (i.e. v1.0.2) should be defined and shared between all departments. 

On-Set & Dailies Colo

• CDLs only
  • No secondaries, keys, or power windows to ensure compatibility in post.

• Order of operations is critical
  • CDLs must be applied before Output Transform.
  • See diagram below.

• On-set and dailies monitors must be calibrated to the Rec.709 / BT.1886 standard, or equivalent HDR standard (i.e. PQ / SMPTE ST.2084)

Best lut for vlogs - DSLR

Click on image to download the luts.

These luts for vlogger are perfect to make your footage more cinematic.

This LUT pack will be some base luts to get you a finished look or to a good starting point. It works with  Adobe Premiere Pro CC, Final Cut X, Davinci Resolve and Assimilate Scratch.

Disclaimer

• We have designed a creative lut.
• It is calibrated for properly exposed and white balanced image in standard camera settings.
• You will have to manually adjust temperature, tint and exposure if encountered unexpected results.
• For any DSLR clips shot in Neutral picture settings.
• Developed using 3dlutcreator.

Best windows laptop for Davinci Resolve 14

Best laptop for color grading in Davinci Resolve 14

Blackmagic design recommended laptops for color grading in Davinci Resolve 14.

Dell Precision 7720

Approx US$ 3200.00

Intel Core™ i5 or i7 processors
32GB minimum system RAM
NVIDIA Quadro P4000; 8GB GDDR5 GPU
512GB SSD minimum system hard drive
http://www.dell.com/en-us/work/shop/productdetails/precision-17-7720-laptop

HP ZBook 17 G4 Customised Mobile Workstation

Approx US$4500.00

intel Core i7 processor
16GB minimum system RAM
Quadro P5000 with Dreamcolor display
1TB System drive
http://store.hp.com/us/en/ConfigureView?catalogld=10051&urlLangId=&langId=-1&storeId=10151
&catEntryId=1661652&quqntity=1

Davinci Resolve 14 for mac system shopping guide

COMPUTER

Apple MacPro
Late 2013 model,
12 Core Dual D700 GPU 2.7GHz
Intel Xeon E5 12 Core processor 32GB system RAM recommended
1TB PCIe-based internal flash storage Dual AMD FirePro D700 GPUs

Apple iMac with Retina Display
Mid 2017 27”Retina 5K model, quad-core i7 4.2GHz Intel Core i7 processor
32GB system RAM recommended
TB Internal SSD storage
Radeon Pro 580 with 8GB of VRAM

Apple MacBook Pro with Retina Display
id 2017 15” model, quad-core i7
3.1GHz Intel Core i7 processor
16GB system RAM
512GB PCIe-based SSD
Radeon Pro 560 with 4GB VRAM

Apple MacBook Pro with Retina Display
End 2016 15”model, quad-core i7
2.6GHz Intel Core i7 processor
16GB system RAM recommended
512GB PCIe internal flash storage
Radeon 450 with 2GB VRAM

Apple MacBook Pro with Retina Display
Early 2015 13”model, dual-core i5
2.9GHz Intel Core i5 processor
16GB system RAM recommended
512GB PCIe internal flash storage
Intel Iris Graphics 6100 

Apple MacBook
Limited performance for more than HD ProRes Mid 2107 12”, dual-core i5
1.3GHz Intel Core i5 processor
8GB system RAM
512GB PCIe internal SSD storage
Intel HD Graphics 615

Apple Mac Mini
Optional Central Database Server
Late 2014 model, dual-core i7
3.0GHz Intel Core i7 processor
16GB system RAM
512GB PCIe internal flash storage
Intel Iris Graphics 5100 

Blackmagic Design Capture and Playback Card

• UltraStudio 4K Extreme 3
• UltraStudio 4K
• UltraStudio Express
• Mini Monitor
• Mini Recorder

UI Monitor

• LG Ultrafine 27” 5K Display 
• Dell UltraSharp 27” Ultra HD 5K monitor 

Color Grading panels

• DaVinci Resolve Advanced Panel
• DaVinci Resolve Micro Panel
• DaVinci Resolve Micro Panel
• Avid Artist Color
• JLCooper’s Eclipse CX
• OxygenTec ProPanel
• Tangent Devices Element Bundle
• Tangent Devices WAVE
• Tangent Devices Ripple

BEST COLORIST FOR MUSIC VIDEO NOMINEE - AICE2017 TEAL & ORANGE MADNESS

AICE is the marketing communications trade association whose members are independent creative editorial, design, visual effects, color grading and audio post production companies. It is dedicated to the advancement and promotion of these companies and the essential role their services play in the media creation process.

2017 - BEST COLORIST FOR MUSIC VIDEO NOMINEES

Colorist: Josh Bohoskey 
LEAF- NADA
The Mill

Colorist: Jaime O'Bradovich 
Beyonce - HOLD UP
Company 3

Colorist: Adrian Seery
Sia - The Greatest
MPC

TEAL & ORANGE MADNESS CONTINUES

Color Grading Monitor in budget - HP Z31x DreamColor Studio Display

HP Z31X Dreamcolor Studio Display - US $3999.00

HP has now unveiled its latest additions to the DreamColor lineup, targeted at the professional colorist and editors.

The DreamColor Z31x features support for multiple working color spaces, and the display's color gamut covers 100% of sRGB, 100% of Adobe RGB, 99% of DCI-P3, and 80% of BT.2020. It can also handle multiple frame rates, including native support of 60 Hz, 50 Hz, and 48 Hz (which would be exactly double the 24fps frame rate of film).

The HP Z31x is designed with the features demanded by industry-leading digital creators: an integrated KVM (keyboard/video/mouse) switch, True 2K viewing, markers and masks, and much more. The built-in KVM of the HP Z31x can switch between two computers with a quick keyboard shortcut, allowing the user to share one display, keyboard and mouse between two computers. Many artists have two computers, a Linux® box with their animation/compositing app and a Windows® box with Adobe® Photoshop or internet access.

SONY BVM-X300 V 2.0 - De Facto Standard Monitor for Colorist

“This monitor has become the de facto “standard reference monitor” for mastering HDR content, primarily due to its stability, uniformity, and fabulous contrast ratio,” - Josh Pines, Vice President of Imaging Research and Development for Digital Intermediates at Technicolor.

BVM-X300 V 2.0

The New Sony BVM-X300 30-inch* 4K OLED master monitor is the flagship model in Sony’s professional monitor line-up. This high performance TRIMASTER EL™ OLED monitor includes unparalleled black performance, colour reproduction, quick pixel response, and industry-leading wide viewing angles. In addition, the BVM-X300 has enhanced interface and features for High Dynamic Range (HDR) live production, as well as a wide colour gamut conforming to DCI-P3 and most of the ITU-R BT.2020 standard*. By unleashing these superb features and qualities, this master monitor makes an ideal tool for a wide range of applications such as colour grading and QC (quality control) in the 4K production workflow.

Key Specs -

Colour space - (colour gamut) ITU-R BT.2020*2, ITU-R BT.709, EBU, SMPTE-C, DCI-P3, BVM-X300 Native*3, S-Gamut/S-Gamut3*2, S-Gamut3.cine*2

EOTF - 2.2, 2.4, 2.6, CRT, 2.4(HDR), S-Log3(HDR), S-Log 3(Live HDR), S-Log2(HDR), SMPTE ST 2084(HDR) , HLG SG1.2(HDR), HLG SG Variable(HDR)

PRICE - Approx US $17,995.00

MediaLight - for professional color grading suite

The MediaLight 6500K Bias Lighting System was developed to provide an accurate dim surround bias light solution for the most demanding home theatre and professional video applications. Proper bias lighting reduces eye strain and is a critical component of a color-critical viewing environment.

The MediaLight 6500K is the solution to this problem with a CRI greater than 90 and color temperature accuracy previously only found in fluorescent based bias lights.

The MediaLight 6500K is USB powered, comes with a PWM dimmer and remote control, and has an easy to use peel and stick adhesive backing that makes installation fast and easy. MediaLight strips can also be easily cut to size making them perfect for any size monitor.

The MediaLight 6500K can be powered directly from the USB port on DM series FSI monitors as well as most consumer televisions. It is also equipped with an AC power adapter for displays or applications where USB power is not available.

For more info :- MEDIALIGHT
 

How to create professional Color Grading Environment?

SOLUTION

Colour of the wall - 18% GREY / SP50

Professional color grading rooms require careful attention in order to ensure colors are perceived accurately. SP-50 paint is carefully formulated to match modern color grading monitor performance and, therefore, optimize viewing conditions.

A typical setup will consist of painting the wall behind the monitors with SP-50. An ideal configuration will have all walls painted with calibrated paint. The ceiling can be non-reflective black or SP-50.

Why should you use it?

• Achieve an accurate color grading environment
• Calibrated monitors match from room to room
• Clients value a room built around SP-50
• Turns a normal room into a professional grading environment
• A small investment with great results
• Top facilities around the world build rooms this way
• Increase the value of your services
• Create a better working environment
   

Here are three options for building your room:

Good

• Wall behind monitors is painted with SP-50
• Ceiling is painted black or a really dark gray
• Other walls are painted white
• One SLS-01 light installed close to the ground and washing softly on the wall
• No other light sources, internal or external (windows)

Better

• Wall behind monitors is painted with SP-50
• Walls to the left and right of the console are painted with SP-50
• Back wall painted white
• Ceiling is painted black or a really dark gray
• Two SLS-01 lights installed approximately two meters apart, close to the ground and washing softly on the wall
• No other light sources, internal or external (windows)

Best

• All walls painted with SP-50
• Ceiling is painted black
• Two SLS-01 lights installed approximately two meters apart, close to the ground and washing softly on the wall
• No other light sources, internal or external (windows)

Matching Cameras - Before you begin shoot

When shooting with multiple cameras, how can footage be matched between them?

Whether we know it or not, properly matched capture from each of our cameras is not only the right thing to do, it is a professional expectation. When camera teams are hired to cover an event or shoot a corporate video and three cameras are to be used, there is an unspoken understanding that the footage from each device will match.

Even seemingly simple footage is actually quite complex. There is a blend of elements, from grain and noise, to exposure and white balance.

If it’s impossible to bring matching equipment, choosing all of the camera settings prior to the shoot and then monitoring and adjusting prior to shooting will make the difference.

The best bet is to try to make enough time to test and work with the cameras prior to a shoot starting to at least get them close. Usually the larger the budget, the more setup and testing time there will be, but even with no lead time, a basic knowledge of how to set up cameras is important.

Checklist – Frame settings

Choose the frame size and rate that the project is to be delivered in and set each of the cameras to exactly those settings.

Shutter Speed/Angle

Ensure the shutter speed, also refered to as shutter angle, of each of the cameras is set the same. Shutter speed has a huge impact on the appearance of finished footage. Action sequences can benefit from overly quick shutter speeds, but a good starting place is generally around double the framerate of the camera.

White Balance

Each camera is different, but there should be tools for white balance on board. Most have a number of presets, and the more professional models will allow for custom white balancing, where a white card is held in front of the camera and set as the white that is recognized by the camera.

The key is to set the cameras to a similar setting to ensure that they’re close. If they all offer custom white balancing, that is obviously the best option.

ISO

Start with each camera set to the same ISO level and adjust. Many cameras have a default ISO, but the environment, lens characteristics, sensor characteristics or other factors can determine whether the level needs adjusting to more closely match other cameras.

While some high-end cameras that shoot RAW footage can have exposure tweaked a bit in post production, setting ISO properly in-camera is essential.

Adjusting the camera’s ISO to be as low as possible while delivering a nice, balanced image is key.

It’s going to be very difficult to get cameras exactly identical from simply adjusting settings and comparing monitors, but these basics will help get the process started. It’s all about getting them as close as possible to minimize the work that will need doing in post-production.

Automatic Colorizing ALGORITHMIA

Result of using ALGORITHMIA to colorize black and white image.

Yes. Its time for automatic colorizing black and white photos to color. 

Automatic Colorize by ALGORITHMIA

The research has long way to go before we see content aware colorize in photoshop, davinci or assimilate scratch, but proof of the concept is there exists. 

You can try automatic coloring your b/w images now. Click Here

BIG UPGRADE - DAVINCI RESOLVE 12.5.1

General Improvements

• Alpha-numerical listing of codecs and format in the Deliver and Media Management pulldowns
• When running DaVinci Resolve in window mode, the macOS dock is now visible
• Improved latency for remote grading (Studio version)
• Improved handling of dissolves and overlapping clips in DolbyVision metadata export (Studio version)
• Improved behavior when creating render jobs on locations without write permissions
• General performance and stability improvements

Edit Improvements

• Improved 2-up and 4-up, multicam and playback performance when using QuickTime ProRes on Windows
• Added menu items to allow selection of clips based on Flag, Marker and Clip colors on the edit timeline
• Added ability to import and export duration markers using EDL
• Added the ability for clips to snap to their own markers when adjusting In and Out points
• Improved consistency of edit functions when Timeline is in full-screen mode
• Added support for box wipe mode for offline reference wipe
• Added ability to extract AAF import log information as timeline markers

Color Improvements

• Improved performance for Spatial Noise reduction in Better mode
• Improved listing of attached and timeline mattes in the node graph with support for alphabetical listing
• Added ability to apply grades from a reference wipe using the viewer context menu
• Added ability to align keyframe timelines of color grades using playhead position and wiped still frame
• Next node and previous node operations now loop around the node graph
• The ‘displayed’ node graph now automatically updates when the current still is changed
• Swapping nodes now also swaps the node labels
• Rippling grades now also copies node labels, Power Window labels and node cache settings
• Shift Up + Next Still will now append grade from the current still on the advanced control panel (Studio version)
• Added support for left eye and right eye grades for the timeline node graph (Studio version)
• Added ability to convert a mono timeline into stereoscopic 3D (Studio version)
• Added ability to convert a mono clip into stereoscopic 3D (Studio version)
• Added support for sequence and node render caching for stereoscopic clips and timelines (Studio version)
• Added compensation for stereoscopic slip when exporting timecodes in ALE (Studio version)
• Added support copying DolbyVision grades using stills and middle click (Studio version)
• Improved 3D and Qualifier panel layout in dual screen mode
• Improved behavior to stay in the same frame when joining two clips

Resolve FX Improvements

• Added ResolveFX Generate Color (GPU accelerated)
• Added ResolveFX Tilt-shift Blur
• Added support for anamorphism in ResolveFX Lens Blur (Studio version)
• GPU acceleration support for ResolveFX Lens Flare (Studio version)
• Ability to adjust Shadows/Midtones/Highlights in ResolveFX Film Grain in all compositing modes (Studio version)
• GPU acceleration support for ResolveFX Emboss, Waviness, Vortex, Ripples, Dent, Mirror
• Improved ResolveFX Scanlines and added various composite modes
• Ability to view the ResolveFX Scanline layer without the background
• Improved border behavior for ResolveFX Gaussian Blur, Directional Blur, Mosaic Blur, Radial Blur and Zoom Blur
• Added support for horizontal/vertical ratio in ResolveFX Glow
• Added support for pan and tilt on ResolveFX Prism Blur
• Improved performance for ResolveFX Light Rays
• Improved performance for ResolveFX JPEG Damage

Media Improvements

• Added new Import Media options to File menu and Media Pool context menu
• Added support for stereoscopic 3D clips in Media Management (Studio version)
• Added support for display drive names in Media Storage on Windows
• Addressed issues with open file location from Media Pool on Linux
• Added Source Name tag support for filename without extension
• Added support for automatically setting pixel aspect ratio for anamorphic ARRIRAW MXF clips

Codec & Format Improvements

• Added support for ProRes decoding on Windows
• Improved QuickTime decode and encode performance on Windows
• Support for UHD H.264 renders on Windows
• Improved QuickTime decoding and encoding performance on Linux
• Added support for HEVC (H.265) decoding on Linux
• Added support for alpha channel in DNxHR 444
• Added support for the Sony X-OCN format
• Added support for various AAC encode parameters on macOS
• Added support for QuickTime AAC audio encoding on Windows
• Added support for encoding QuickTime Photo JPEG files
• Added support for decoding AVCHD files from the Sony NEX-FS700 camera
• Added support for V-Gamut in RCM for improved Panasonic camera image handling
• Added ARRI LogC to Linear and Linear to ARRI LogC LUTs in VFX I/O
• Addressed decoding of last frame in some Panasonic AVCHD clips
• Improved handling of AVCHD .MTS clips
• Added support for RED SDK v6.2.1

DOWNLOAD FREE DAVINCI RESOLVE HERE.

Color in Motion

An Interactive Experience of Color Communication and Color Symbolism.

www.mariaclaudiacortes.com

Maria Claudia Cortes '03 (M.F.A., computer graphics design) has been receiving widespread praise for her RIT thesis project, an animated Web site titled Color in Motion. The project received Best of Category honors in the I.D. Magazine 2004 Student Design Review competition, it was featured by Communication Arts Magazine in the 2004 Interactive Design Annual, and also made the pages of the December 2004 issue of Proyecto Diseno, the leading design magazine in Cortes' home country, Colombia.

Cortes joined Eastman Kodak Company in 2003, working first in Rochester and now in Bogota, Colombia, for the Technical Knowledge Management Department. She is a multimedia developer and graphic designer.