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标题: 墨尔本视频调色 2024 [打印本页]

作者: gzhjb 时间: 4-1-2020 21:37
标题: 墨尔本视频调色 2024
本帖最后由 gzhjb 于 14-10-2024 22:46 编辑

Basic Workflow of Colour Grading:

NR

IDT (None, None)

Highlight (Preserve/Recovery Highlights)

Exposure (Correct Exposure through Offset or HDR Exposure sliders, Gamma-Linear)

Contrast (Ratio)

Saturation (Adjust Saturation)

Colour Balance / Cast (Fix White Balance)

Look

Grain

ODT (Luminance Mapping, 1000, Saturation Compression)

Project Setting
Color Management:
DaVinci YRGB
DaVinci WG/Intermediate
Rec.709 Gamma 2.4

Cullen Kelly
---- EXPOSURE - RATIO - BAL - HSV ---------
---- PW-PW-PW-----------------------------------

Darren MostynIDT
EXP (OFFSET OR GLOBAL)
COL TEMP AND STAHL (POWER WINDOW + HL)
P-OFFSET FOR SKIN TONE
P-HSL
P-

ODT
DEHANCE
~~~~~~~~~~~~~~

NODE TREE WITH FPE (RUNHAAR)

IDT
EXP
BAL
CON
SAT
P-TEMP
P-TEXTURE
P-3
P-4
LOOK1 (MAJOR CHANGE)
ODT
LOOK2 (MINOR CHANGE)
FPE COMPOUND-CST (REC709/GAMMA2.4 - REC709/CINEON FILM LOG)
FPE COMPOUND-FILM LUT (REC709 KODAK 2383 D60)MINOR ADJUSTMENT (BLACK POINT, WHITE POINT, VIGNETTE)P-GRAIN
P-SHARPEN
P-GLOW
P-HALATION

DARREN MOSTYN 2023

PROJECT SETTINGS:
COLOR MANAGEMENT:
COLOR SCIENCE: DAVINCI YRGB
TIMELINE COLOR SPACE: DAVINCI WG/INTERMEDIATE
OUTPUT COLOR SPACE: REC.709 GAMMA 2.4DOLBY VISION VERSION: 4.0
MASTERING DISPLAY: 4000-NIT, P3, D65, ST.2084, FULL

CAM-DWG
BAL/EXP
CONTRAST
SAT
TEMP/HDR/WARPER/CURVES
TRIM
PW1/PW2/PW3
TEXTURE
SPARE
LUT COMPOUND
(709/2.4-709/CINEON FILM LOG, LUTS-FILM LOOKS-REC709 KODAK 2383 D65 OR OTHER LUTS)

Note: Film Print Emulation
~~~~~~~~~~~~~~
Colour Correcting + Colour Grading

Method 1 - Wheels

Balance + Grade (Look)

Balance:

1. Collapse Timeline
2. Collapse Clips
3. Collapse Gallery
4. Now more space for the viewer
5. Click Qualifier, Tick Show picker RGB value (right-click on the viewer)
6. Enable the looping player
7. Open up Waveform
8. In settings of Waveform, tick Y
9. Increase the brightness of Waveform
10. Use Colour Wheel palette (Lift, Gamma, Gain and Offset)
11. Use the dark horizontal wheel
12. To spread out the Scope of Waveform
13. Change Lift to reach close to 0 line
14. Change Gain to reach close to 896 line normally (768 line for some dark scenes)
15. Back and forth on Lift and Gain in order to normalize the Scope (0~768 or 896)
16. Change Gamma to reach 50% of Scope (512 lines)
17. Now to check the Saturation
18. Change Saturation to reach as close as a real look
19. Now to check the colour cast
20. Change to Primaries Bars
21. Show picker RGB value (right-click the reviewer)
22. Use white or black reference here to check any colour cast issue by checking RGB value
23. Or look for a reliable grey colour (RGB value should be balanced)
24. If refer to the high light area, change Gain to address colour cast
25. Double check the RGB value of the grey area, RGB value should be now balanced

Look

1. Create a new node for Look
2. Switch back to Colour Wheels (Primaries Wheels)
3. Use the Gamma wheel to push a certain colour
4. Use Lift wheel to compensate a certain colour (to make Shadow back to neutral)
5. Change Contrast
6. Change Pivot to address some over-exposed area
7. Change MD to increase the contrast of area with a high amount of details (Sharpness)

Method 2 - Curves

Balance
1. Spread the Scope of Waveform by change the positions of the Black point and White point on the curve
2. Add more points on the curve by clicking on the curve
3. Remove points by right-clicking on the points
4. Select any one of the four channels of YRGB, you can change the value of specific colour
5. Use the Parade to balance the colour
6. Change the Scope to Parade
7. Check where there is colour cast in the Parade
8. Isolate the colour channel on the Curve
9. Add points around where colour casting
10. Push away the colour casting
11. To achieve the balance of all RGB colours in Parade
12. Now start to adjust Contrast (Deepen the shadows and brighten up the middle tones)
13. Bind YRGB channels
14. Add two points on the Curve
15. Make the S curve adjustment
16. Keep an eye on the Parade to ensure no over-expose
17. Push MD a little bit to get more contrast on details

Look

Cross Process (before Contrast adjustment)
1. Isolate one of the four YRGB channels, R
2. Adjust the S curve on the R channel
3. Isolate another colour channel, B
4. Adjust the opposite S curve on the B channel

Cross Process (before Contrast adjustment)
1. Isolate YRGB channels,
2. Blue: Highlights down and Shadows up,
3. Red: Highlights up and Shadows down,
4. Green: Middle point up or down.

Vintage 11. Isolate YRGB channels,
2. Red: Highlights down and Shadows up,
3. Green: Highlights down and Shadows up, but less density,
4. Blue: Shadows down and Middle point up,
5. Y: Shadows down and Highlights up for more contrast.6. Using Splined Control to get a more organic look.

Vintage 2
1. Isolate YRGB channels,
2. Green: Middle point down,
3. Red: Shadows down and Highlights down,
4. Blue: Highlights down more than Red and Shadows up a bit.

Vintage 3
1. Isolate YRGB channels,
2. Blue: Highlights really down and Shadows really up,
3. Red: Highlights up and Shadows down, add a point close the Shadows, then push Shadows up,
4. Green: Highlights up a bit,
5. Y: Highlights down and Shadows up,
6. Bring Sat down a bit.

Easy Teal and Orange Look

1. Node 1: Bring Saturation to 0, then adjust Primaries to a certain exposure,
2. Add Node 2,
3. Node 2: Add some blue tint in Gain of Primaries Wheels,
4. Node 1: Bring Saturation back to a high level,
5. Add Node 3,
6. Node 3: Bring Saturation down to a level you like.

MD
Midtone Details: to adjust how harsh the image looks, can be used to smooth skins for a beautiful look.

+ / X
Colour Wheels: Adjust colour wheels at + directions first, then X directions.
Colour Wheels: Also start from right to left, Offset - Gain - Gamma.

Note:

Check your Saturation and adjust it accordingly now and then after changes are made in Primaries and Wheels.

Contrast - Colour:
1. Node 1 (for Contrast) - Bring Sat to 0, Adjust Primaries Wheels from Right to Left: Offset - Gain - Gamma - Lift. (Only use the sliders)
2. Once happy with the contrast, bring Sat back to 50.
3. Node 2 - (for Colour) Bring Sat up quite a bit.
4. Adjust Primaries from Right to Left: Offset - Gain - Gamma. (Only adjust them horizontally in colour wheels: left or right)
5. Adjust Primaries from Right to Left: Offset - Gain - Gamma. (Only adjust them vertically in colour wheels: up or down)
6. Bring Sat down all the way to 0, then bring Sat back to what you like the most.
7. Change to Log.
8. Adjust Shadows in Log.
9. Adjust Shadows (left or right, up or down).
9. Adjust Shadows Sliders.

Auto Match Tools (Shot Match to this Clip)
1. Select the clip you want to change

2. Right-click the clip you want to match to
3. Choose the Shot Match to this Clip

Manual Match Process
1. Select the clip you want to use as a reference
2. Right-click the viewer, choose Grab Still
3. Change the name of the still to Reference
4. Select the clip you want to change
5. Double click the reference still
6. Still reference will be displayed side by side with the clip you are about to work on
7. The Image Wipe is now activated in the viewer manuals
8. You can move the wiper line to change the ratio
9. Notice that the Scope is also wiped (live readout of scope during wiping)
10. Isolate one colour channel
11. Change the colour on the curve to bring the two values to match in height
12. Do the same on other colour channels

Flag Clips: Use Flag to group clips and filter them in different ways.
Primary Grading: for entire clip or clips.
Secondary Grading: for a certain area of the clip by using qualifiers, masks, tracking tools or keyframes.

1:04:04

MY OWN KEYBOARD SHORTCUT LIST:

J, K, L

J: Fast Reverse
K: Play
L: Fast Forward

<-, ->

<-: Reverse Frame by Frame
->: Forward Frame by Frame

I, O

I: In Point
O: Out Point

G
G: Clear In and Out

, .

,: Place Clip on Nearest Cut
.: Place Clip at End of Timeline

Q, W

Q: Ripple Delete Beginning of Clip (Delete from Beginning to the Playhead of the Clip and Remove the gap)
W: Ripple Delete End of Clip (Delete from the Playhead to the End of the Clip and Remove the gap)

C
C: Razor, Cut at the Playhead
D
D: Disable / Enable a clip or a soundtrack or multiple ones.

Shift + Middle Wheel of Mouse
Increase / Decrease Height of the Clip

Ctrl + Middle Wheel of Mouse
Pan Left / Right of the Clip

Alt + Middle Wheel of Mouse
Zoom In / Out the Clip

Alt + Left Button of Mouse and Drag
Copy and Paste the Clip

Ctrl + R
Retime Control (Slow Motion Control) or Right Click then Choose Change Clip Speed, Input percentage (24/60=0.4=40%)
Remember to use Retime Curve to smooth in and out, Tick Retime Speed, Untick Retime Frame.

Fullscreen Playback
Ctrl + F: Fullscreen Playback or Cinema Viewer mode

Reset Colour Grades
Ctrl + Shift + Home: Reset Grades and Keep Nodes
Ctrl + Home: Reset All Grades and Nodes

Enable / Disable a Clip
X: Customized with X

Copy and Paste Colour Grades and Nodes to Other Clips
Shift + =

Enable / Disable All Nodes
Alt + D

Enable / Disable the Selected Node
Ctrl + D
Enable / Disable the Fusion Node
Ctrl + P

Edit Node Name
Tab

Add a Serial Node
Alt + S

Add an Outside Node
Alt + O

Add a Parallel Node
Alt + P

Create a version of Grade
Ctrl + Y

Check the Previous Version
Ctrl + B

Check the Next Version
Ctrl + N

Open Wipe Windows
Ctrl + W
Swift Wipe Windows
Alt + W

Open Split Screen
Ctrl + Alt + W

Open Highlights
Shift + H

Open Black & White Highlights
Shift + Alt + H

Enable Printer Lights
Ctrl + Alt + A

Adjust Printer Lights
Ctrl + Numpad Keys

Zoom to Fit Viewer
Shift + Z

Enable Wipe Mode
Ctrl + W

Create New Version
Ctrl + Y

Apply one clip's grade to all other ungraded clips from the same scene or any scene: Multiple select all clips including the graded one, then middle-click the graded one.

Parallel Node: good for blending
Layer Node: good for adding

Grade Version:
Add: Alt+Shift+A
Default: Alt+Shift+D
Next: Alt+Shift+N
Previous: Alt+Shift+P

Search Tools
Ctrl + 空格（SPACE）
Zoom In/Out Fusion Node Tree
Ctrl + Middle Wheel (Mouse)

Pan Fusion Node Tree
Hold Middle Wheel (Mouse) and Move
Play Again
Alt + L

Search Tools
Ctrl + Space

Colour grades from one clip to another is to just go to the next clip. And then hit the equal sign on the keyboard (or Shift + =). And that will copy and paste all of the nodes from the previous clip onto the next clip.

---------------------------------------------------------------

Base Node Tree

nr: noise reduction
pri: primaries
pop: pop
look: look
hsl curves: hue, saturation and luminance curves
red / green / magenta / yellow / blue / cyan: paralle nodes
look adjustment:
skin / eyes: parallel nodes
sky / hero / left / right / bottom: parallel nodes
glow / sharpening / grain: parallel nodes
director / dp / globe adjustment / trim: parallel nodes

Create a "base" still in PowerGrade
Gallery - PowerGrade
Right Click - Grab Still
Name it as "base"

Apply "base" still to new clips
Gallery - PowerGrade
Right-Click the "base" still - Apply Grade

nr: noise reduction

Temporal Threshold:
Luma: 4.8
Chroma: 4.8

Spatial Threshold:
Luma: 0.0
Chroma: 6.8
Simple Node Trees

nr:
primaries:
globe adjustments:
-------------------------------------------

Colour Correcting

--------------------------------

White Balance

Open Scopes in four windows:

Parade, Waveform
Vectorscope, Histogram

Method 1 - Temperature and Tint:

1. Temperature: To concentrate colours in your highlights (White is white or grey is grey) and shadows (Black is black).
2. Tint: go left to add Green, go right to add Magenta.

Method 2 - Offset and Primaries:

1. Colour Wheels: Lift, Gamma, Gain and Offset
2. Offset first
3. Then Gain
4. Focus on concentrating colours in highlights

Method 3 - Printer Lights

1. Activate Printer Lights from the Colour drop-down menu
2. Use Printer Lights to adjust individual colours (= Offset)
3. Ctrl + Number Keys in Number Pad

Method 4 - Primaries

Lift - Dark
Gamma - Midtones
Gain - Highlights
Offset - Tints
-----------------------------------------------------------

Recommended Audio Levels for Dialogue

Generally, the dialogue level is within -15 db to -10 db.
Strong booming voice around -10 db.
Softer natured voice around -15 db.
Average voice level at around -12 db.
Whispering sound around -20 db.
Yelling sound around -3 db.

Recommended Audio Level for Music / Sound Effects

Background music track audio level around -20 db.
Shooting/explosion audio around -3 db.
Musical video around -10 db to -5 db.

Layer Mixer Node: Generally used to isolate selected parts of the frame using qualifiers, or add composite mode to create effects such as Bleach Bypass etc. For example, use a qualifier to select a certain colour (green for grass) in order to make the grass greener, or use a number of Layer Mixer Nodes to select a variety of parts of the frame, by doing so, you can isolate the selected parts, colourful subjects, and then de-saturate the white subject in order to make white subject real white. Remember, the nodes on the button are actually on top, work as masks.

Parallel Mixer Node: Generally used to blend in multiple corrections by using windows or qualifiers. For example, use a window to select a subject in order to brighten it up, make it pop, or use a window to select a subject and reverse it in order to dim down for vignette effects.

Always max out the parameters and then dial it back. This will help you determine how far you can push the image before it breaks apart.

3 Ways To Copy Color Grades FAST In Resolve

Method 1 – Creating Stills

Right-click in the program viewer and go to Grab Still. If you open up the gallery, you’ll see the new still that was created. When you hover over a still in the gallery viewer, it gives a preview of what that grade is going to look like when it gets applied to your new clip.
Right-click on the still and choose Apply Grade from the dropdown menu. Now you’ll see that the grade from the still has been applied to the new clip (or multi clips if you have chosen them) in the timeline.

Note: After the grade has been copied, you have the ability to modify the grade further on an individual basis. It’s a one-way process and not linked to any other grade or still.

Method 2 – The Mouse

Select the clip that you want to apply the copied grade TO.
Find the clip that you want to copy the grade FROM in the timeline. Click on it with your center mouse button, that’s the wheel.
Hover over that clip in your timeline and push down firmly with the wheel on your mouse.
And just like that, Resolve will copy the color grade from one clip to another.

Note: Using your mouse to copy a grade is much easier than going through the process of creating stills. Stills are useful if you’re going to be copying that grade to a large number of clips, almost as if you want to save that grade as a favorite so you can reapply it throughout your timeline to various clips.

Method 3 – Hotkeys

Here’s one last example of how to copy a grade from one clip to another – using hotkeys. In Resolve, there are hotkeys for copying the color grade from the previous clip in your timeline and for copying the grade from the clip BEFORE the previous clip in your timeline. Those are the minus (-) and the plus (+) keys.

If you hold down on shift and hit the minus (-) key, Resolve will copy the color grade from the previous clip in your timeline. You will see that it’s copied the grade because you will have a new icon appear in your node.
If you want to copy the grade of the clip BEFORE the previous clip, you’ll hold down shift and use the plus (+) hotkey.

Note: It doesn’t matter if you have existing color corrections on a clip because when you copy the grade it will overwrite everything that you’ve had there previously.

Skin Tones
https://www.youtube.com/watch?v=akPGqs7daYs&ab_channel=WaqasQazi

Fly In Text Animation
https://www.youtube.com/watch?v= ... hannel=MotionEpicFX

Sony RAW
Color Space Transform
Input Color Space: Sony S-Gamut3.Cine
Input Gamma: Sony S-Log3
Output Color Space: Rec.709
Output Gamma: Gamma 2.4

Correction
CST
Look
Skin Tone | Eye Left (Sharpen) | Eye Right (Sharpen)

Skin Tone
Keep the highlights of skin tone at around 512~640 in Waveform.

作者: gzhjb 时间: 4-1-2020 21:38
本帖最后由 gzhjb 于 6-7-2021 20:42 编辑

Teal and Orange Look

All skin tones are kind of orange. Its complementary colour is teal. Using teal and orange look will make the both (most of the time, the orange subject - skin tone - human being) pop out.

First off, you would want to get your contrast levels right, and then you would add teal to the shadows. Then next, you would go to the mid-tones and drag it to the opposite orange area, and then you would take the highlights towards the teal area or if you want a more warm look, you could also take it towards the orange area. I would usually bring it more towards the teal, just to cancel out some of that correction in the mid-tones.

And then notices once you change the highlights, the mid-tones change a little bit so you have to kind of go back and forth and finesse the look so that it looks pleasing to the eye and you're happy with it.

And the further away from the middle you drag the colour wheels, the more intense the look is gonna be.

Top DaVinci Resolve Keyboard Shortcuts to Help You Edit Faster

Shortcuts are a great way of saving time when you are editing. Using these “hotkeys” can help change up how you edit, making you faster and more efficient in the process, which is why we put together this handy cheat sheet of DaVinci Resolve keyboard shortcuts.

That said, shortcuts only really save you time when they become a habit, and you automatically use the keys rather than the mouse. If you already have certain editing habits, these can be difficult to break or relearn.

The most effective way to get your head around shortcuts is to start with your most frequent actions. It can take some time and be frustrating, but if you pick one or two to start with, you’ll soon have those as a part of the workflow, and can start integrating other hotkeys into your work.

Part 1: DaVinci Resolve Shortcuts

We’ve split this guide into different sections to help you navigate the range of keys you can use. While you might use some of these already, there is a wealth of shortcuts to master.

File

Firstly, let’s take a look at the shortcuts associated with the File Menu, where you can create new timelines, import and export media, and save your projects.

Action	Mac	PC
New Bin	Shift + Command + N	Shift + Control + N
New Timeline	Command + N	Control + N
Save Project	Command + S	Control + S
Save Project As…	Shift + Command + S	Shift + Control + S
Import Project	Command + I	Control + I
Export Project	Command + E	Control + E

Timeline Navigation

The Timeline shortcuts are super helpful in navigating your timeline and playback options.

Action	Mac	PC
Go to First Frame	;	;
Go to Last Frame	′	′
Play Around Current Frame	/	/
Go to Timeline Start	Function + Left Arrow	Home
Go to Timeline End	Function + Right Arrow	End
Previous Clip / Edit	Arrow Up	Arrow Up
Next Clip / Edit	Arrow Down	Arrow Down
Step One Frame Reverse	Arrow Left	Arrow Left
Step One Frame Forward	Arrow Right	Arrow Right

Marking

Marking your timeline is an efficient way of adding reference points to a clip without needing a keyframe or a cut. Use markers for anything that you want to remind yourself of later, but don’t overuse them, or your timeline will become cluttered and confusing.

Action	Mac	PC
Mark In	I	I
Mark Out	O	O
Clear In	Option + I	Alt + I
Clear Out	Option + O	Alt + O
Mark Clip	X	X
Add Marker	M	M
Add & Modify Marker	Command + M	Control + M
Modify Marker	Shift + M	Shift + M
Delete Marker	Option + M	Alt + M

Playback

Playback Shortcuts help you watch your edit through in a variety of different ways. Learning these shortcuts will help you quickly watch through, reverse, and loop your clips for review.

Action	Mac	PC
Pause/Start Playback	Space	Space
Play Reverse	J	J
Stop	K	K
Play Forward	L	L
Fast Forward	Shift + L	Shift + L
Fast Reverse	Shift + J	Shift + J
Loop/Unloop	Command + /	Control + /
Play In To Out	Option + /	Alt + /
Play To Out	Option + Command + /	Alt + Control + /

Editing

With these hotkeys, you can quickly jump between editing tools, which can save a ton of time and mouse action.

Action	Mac	PC
Normal Edit Mode	A	A
Trim	T	T
Blade	B	B
Razor	Command + B	Control + B
Insert Edit	F9	F9
Overwrite Edit	F10	F10
Replace Edit	F11	F11
Place On Top Edit	F12	F12
Delete Selected	Backspace	Backspace
Fit To Fill	Shift + F11	Shift + F11
Append At End	Shift + F12	Shift + F12
Dynamic Trim Mode	W	W
Trim Mode	T	T
Select Clips Forward On This Track	Y	Y
Select Clips Backward on This Track	Command + Y	Control + Y
Edit Point Type	U	U
Select Nearest Edit Point	V	V
Snapping On / Off	N	N
Nudge One Frame Left	,	,
Nudge One Frame Right	.	.
Select Nearest Clip/Gap	Shift + V	Shift + V
Linked Selection	Shift + Command + L	Shift + Control + L
Clip Link	Option + Command + L	Alt + Control + L
Enable Clip	D	D
Split Clip	Command + \	Control + \
Join Clips	Option + \	Alt + \
Select Nearest Edit Point	V	V
Edit point type	U	U

Effects

Shortcuts can also help you with your effects, such as retiming clips, adding transitions, and working with keyframes.

Action	Mac	PC
Add Transition	Command + T	Control + T
Retime Controls	Command + R	Control + R
Reset Retime	Option + Command + R	Alt + Control + R
Paste Attribute	Option + V	Alt + V
Add Keyframe	Command + [	Control + [
Add Static Keyframe
Delete Keyframe
Go to Previous Keyframe	[	[
Go to Next Keyframe

General

Some general shortcuts you can use include copy and paste, as we’ve already mentioned, but you can also use a similar method for a variety of other general actions.

Action	Mac	PC
Undo	Command + Z	Control + Z
Redo	Shift + Command + Z	Shift + Control + Z
Copy	Command + C	Control + C
Paste	Command + V	Control + V
Select All	Command + A	Control + A
Deselect All	Shift + Command + A	Shift + Control + A
Delete with Ripple	Shift + Delete	Shift + Delete

Part 2: How to Customize Keyboard Shortcuts

You can make the most of your editing workflow by customizing your keyboard to your preferred set up. Within DaVinci Resolve, you can create as many unique keyboard setups as you like, creating shortcodes specific to your workflow.

Customizing Your Keyboard

It might sound daunting, but don’t worry, customizing your keyboard for Blackmagic Design’s DaVinci is very easy, and needn’t take long. You can also change to other preset keyboards such as Final Cut Pro and Adobe Premiere Pro, which can help if you are working between applications or migrating entirely to Resolve.

Go to the DaVinci Resolve menu, and select Keyboard Customization (Alt/Option + Command/Control + K)
In the top right corner, you can browse the present keyboard options from the drop-down.
To create your own, select the keyboard most like the one you want to use.
Scroll through the window displaying all of the functions, and find the one you’d like to customize.
Click in the box alongside it and type your new shortcode. If the key is already used, a notification will appear giving you the option to overwrite it or try again.
Once you have edited the shortcode, click save and give your keyboard a new name. If you want to edit the keyboard at a later date, just select it from the drop-down menu, make your changes and save again.

So, that’s a whole heap of hotkeys to save you time and repetitive strain injury. Our top tip for integrating DaVinci Resolve shortcuts into your work is don’t try and learn them all at once. You don’t need to master this entire list to see the positive effects they can have on your work. Concentrate on your most used actions and learn those, as you grow as a video editor, shortcuts will feel more familiar, and you’ll begin to have fun with them.

Skin Tones

I like to break it into three components, the shadows, the mid-tones and the highlights.

The mid-tones are where we add our base orange colour and this is actually going to be the same orange hue regardless of your actors' ethnicity or the rest of the colour grade.

For the shadows, we're going to add a little bit of red colour and this will give the appearance of blood flow in the skin. This is a great way to control how lifelike or how dull your skin tones look depending on how much of this red colour you add. It's important to note here that the shadows and mid-tones are going to remain pretty much the same colour regardless of what you're doing with the colour grade and that's where the highlights come in.

The highlights of the skin should take on the ambient light colour in the scene. So in this example, I'm working with a teal orange colour grade and I have lots of blue ambient light in this shot so I'm gonna add blue into my highlights and you can see right away how it makes the skin look like it's part of that actual shot but at the same time it keeps our mid-tones and our shadows looking very lifelike and natural. What's so powerful about this technique is that all we have to do is change the colour of our highlights to fit in whatever colour grade we're using for that specific shot.

First, colour correct the footage before we start working with our skin tones. I'll take my saturation down to zero and I'll balance my luminance first so I'll use the curves here set my black point on the scopes and get a little bit of contrast going in this image. I'll bring my saturation back up to 50 and then go to the RGB mixer page and turn up the red, green and blue output, and that just saturates our image nicely.

So now I'll add a second node and take care of some of the colour cast issues. It seems like we have some red in the shadows so I'll go to the primaries bars, turn the luminance mix down to zero and I'll start to bring some red out of the lift. I can also bring some green out of the mid-tones there.

Now we're ready to start working with the skin. I'll add a new node and we're gonna go ahead and qualify our skin tones. I'll grab the eyedropper tool and select our skin. You can hit Shift H to highlight / show your selection, just gonna select those mid tone colours right there and then grab the feather tool and drag across the skin to blend our selection and chances are you'll probably have to refine this a little bit by hand so I'll go ahead and do that now. I want to point out that it's okay if you select other things in the scene because chances are they will benefit from this skin tone process so let's start working on our skin tones. I'm gonna come over here to the log wheels and as you can tell we have a shadow, midtone and highlight wheel which correspond perfectly to the technique that we'll be using to control our skin tones. I'm also going to switch over from the parade to the vectorscope and one thing I want to point out is that if you click this button here, you want to make sure that the show skin tone indicator is checked. That will give you this line and that's what we're going to be aligning our midtones to, to make sure that our skin is the right colour. I'll grab a power window, circular power window in this case and I'll just go ahead and kind of select my skin like that and now if we look on the vectorscope we can see where our skin is and in this case it's right directly on that line. Now if it's not on the line you can use the offset wheel to just make some subtle adjustments and get your skin either right on this line or just touching the right side of the line. Maybe I'll make a very subtle correction there. What I can do is take our midtones and I can push that orange colour into the mids. I'll keep a close eye on the vectorscope to make sure I'm pushing the right colour right about there. At this point, I can shut off the power window.

If you look underneath the colour wheels here we have a low range and a high range parameter right here. I'll show you how that works visually right now.

First I'll going to do is set my low range and I'm gonna do this by pulling it all the way down to zero.

作者: gzhjb 时间: 4-1-2020 21:38
Colour Grading Step by Step

Colour grading is how you enhance or alter the colour of a motion picture, video image or still image. It is how videographers adjust the colours of their footage to achieve a visual mood or tone.

While the term colour grading refers to the whole process of adjusting the colour from the source file to the final output, the process is split into two parts: Colour correction and Colour grading.

Colour correction: the process of adjusting the basic colour and white balance, exposure and contrast to be consistent from shot to shot.

Colour grading: Once the colour has been corrected, the footage can be colour graded to fine-tune the colours and create a specific look.

If your camera doesn't offer a log profile and you plan to colour grade your video, use either a neutral profile or set up a custom profile with the sharpness and contrast set as low as possible. It can also help to slightly decrease the saturation setting.

The colour-grading process will vary somewhat from editor to editor, but here is a general workflow you can follow:

1. Normalize Your Video Clips
2. Perform Video Colour Correction
3. Colour Grade Your Footage
4. Perform Final Colour Adjustment
5. Consider Vectorscope and Skin Tones

Normalize Your Video Clips

The first step should be to normalize your video clips. You need to fix the contrast and saturation in order to take advantage of all of the information recorded. It's possible to do this process manually, or you can use a technical LUT to simplify your workflow.

Perform Video Colour Correction

Once your clips have been normalized, you need to colour correct the video. Try to get the video clip as "correct" as possilbe. If your exposure is bad, contrast is missing, or white balance is off, the actual colour grading will be far more difficult.

Colour Grade Your Footage

Once your colour correction is completed, you can then colour grade your footage. Again, this step can be done either manually or with a LUT. Doing it manually will provide you the most control but could take longer. Using a creative LUT can save time and add consistency, but only if all of your clips are colour corrected well.

Perform Final Colour Adjustment

As with any anotmated method, LUTs are likely to not be perfect. For example, they might give everything too much of a certain colour tint. After adding your LUT, go back through, correct any problems, and ensure consistency across all of your clips.

Vectorscopes and Skin Tones

One of the chanllenges with colour grading vido is that you can't always completely trust what you see on your monitor. Bad (or the lack of) monitor calibration and ambient lighting can alter the way you see the video being displayed.

How can you make sure that your colour corrections are accurate?

Editing programs that offer video colour correction tools, such as Adobe Premiere Pro, DaVinci Resolve, and Final Cut Pro offer solutions for this problem. Within these programs, there are panels called scopes that give a range of information about your video footage.

When it's time to colour correct or colour grade, the vectorscope is extremely helpful. A vectorscope shows what colour tones you have and how saturated they are. Because the vectorscope directly reads the digital signal, it's not affected by anything that might skew your perception. Once you learn to read them they give you colour information that you can trust to be accurate.

One of the most helpful features of a vectorscope is a line that passes between the yellow and red point. If it was clock face, the line would go from roughly 11:00 to 5:00. This is called the skin line, because virtually every person's skin tone will fall on or extremely close to this line.

When colour correcting, ensure that your colour are balanced so that the skin tones match up with the skin line.

For any videographer who wants to produce high quality content, there are many elements to pay attention to. Framing, focus, exposure, capturing clear audio, and telling an engaging story are crucial. With all of this in place, colour correction and colour grading play an important, final role in taking your video to a professional level.

作者: gzhjb 时间: 4-1-2020 21:39
Isolating and stylizing highlights.

The advanced way to colour grading is to treat highlights in a separate node from the rest of the image. So one node will control highlights only and other nodes will control the rest of the image.

Colour correct the image first in the first node. This is a very basic colour correcting to find the pure black and pure white in the image. Remember to bring Gain down a little bit after colour correction as most of the time, the white point balancing will bring the image too bright.

How to isolate the highlights.
After the basic colour correcting in the first node.
Add a new serial node.
In Qualifier Tab, switch to the LUM Qualifier.
Add some L.Soft.
Activate the Highlight Mode.
Cutting out the Shadows by increasing the Low, until only the highlights are selected.
Increase the Blur Radius a bit.
Add an outside node.

Start with the Outside node.
Bring the Offset down and then reducing the Saturation.
Also can change the Contrast a little bit.

Change to the Highlights node.
Pull the Gain away towards to Orange for example. (If the Highlights are face or skin mainly).
And reducing some Saturation a bit.

Another way to get the same look.

Still start with the Outside node.
Reset all colour grading applied on this node by clicking the icon next to the text "Primaries Wheels".
Simply reduce the Saturation and reduce the Contrast of the image and bring the offset up a little bit.

Back to the Highlights node.
Reduce the Saturation and increase the Gain a bit further.
Also can increase the Contrast a little bit to bring more details in Highlights. Reduce the Saturation a bit further.

作者: gzhjb 时间: 4-1-2020 21:40
Bleach Bypass Look (More contrasty and less saturation effect)

This is a combination of Black and White imagine and Colour image.

Apply basic correction on the shot first. (Primary Black Balance, Primary Offset, setup the blackest point of the image)
Add a new serial node, then add a new layer node on it.
Start with the bottom layer node first. The bottom layer is actually the layer on top of other images.
On Primaries Wheels.
Reduce Saturation to zero.
Go to the Layer Mixer (the layers combination output).
Right-click.
Choose the Composite Mode.
And select Overlay.
From the Black and White layer, using Gamma to control Lum value of the image.
From the Colour layer, using Saturation or Gain to adjust the colours.

作者: gzhjb 时间: 4-1-2020 21:40
Colour Grading, always start from the Gain, then Gamma, then Lift.

The slightest change in Gains has a profound effect on how the images look.

In natural light, whenever there is a colour cast, usually the colour cast starts from the Highlights or Gains.

作者: gzhjb 时间: 4-1-2020 21:41
本帖最后由 gzhjb 于 28-11-2020 20:05 编辑

常用的一些快捷键：

Alt+Tab: to toggle among  all opened programs

Alt+S: to add a serial node

Alt+P: to add a parallel node

Ctrl+S: to save the project

Win+Tab: to show history

Win+D: to close the main windows

Ctrl+Shift+Drag: to swap two clips

Ctrl+C: to copy

Ctrl+V: to paste to where playhead

Alt+Drag: to duplicate clip

Win+E: to open file explorer

WB-Contrast-Sharpness-LUT Prep-LUT

Click Node Serial Number: to deactivate a Node

Click Node Serial Number again: to activate a Node

LUTs/3DLUT/Film Looks/Rec709Kodak2383D55

The next clip or major movement shall start after beat change

GPU Setting for smooth replay
DaVinci Resolve-Preferences-Memory and GPU-System Tab-GPU Configuration- GPU processing mode-CUDA-GPU selection mode-Manual-Use GPU Scopes ticked.

White Balance Method 1
Colour Tab,
Looking for area with netural gray in your scene,
Go to window tools,
Choose custom polygon (pen tip),
Draw outlines around the netural gray area,
Then go to highlights to highlight the grey area selected in the window,
Go to scopes,
Choose parade,
There are blue, green and red channels at different level,
To bring the three channels to the same level,
Go to curves,
Make sure in custom curves,
Makes sure all curves are linked,
Go to colour picker tool (qualifier),
Click in the area of selected grey area,
Will see four points on the curve,
One for red, one for green, one for blue and one for  luma,
Usually leave green and luma alone,
To bring the red and blue back to balance,
Select the blue from the custom curve box,
Move the blue point on the curve vertically to overlap or reach the same level of green channel,
Do the same to red point on the curve,
The selcted grey window should look well balanced now,
Click the highlight once happy with the grey balancing,
Go back to window tools,
Click the custom polygon again,
Now it applys the effect to the entire frame.

Appending a Node to Multiple Clips Method 1
Finish colour grading to one clip via node(s) first,
Then click the clip which colour graded as a source clip,
Then Shift + Click to select the rest of clips you want to append effects,
Go to colour menu,
Click append node to selected clips,

Appending a Node to Multiple Clips Method 2
Select the node you want to append to other clips,
Select the target clips using Ctrl + Click or Shift + Click,
Go to Clour Menu,
Click append node to selected clips.

Deliver Best Quality Video
Video:
Format: QuickTime
Codec: Uncompressed
Type: YUV 422 10-bit
Resolution: 4K or 1920 x 1080 HD
Frame rate: 24
Quality: Medium or High
Audio:
Codec: Linear PCM
Bit Depth: upgrade from 16 to 24

作者: gzhjb 时间: 4-1-2020 21:41
Desaturate Different Colour Ranges

Keep this colour grading node at the end so to compensate the output of all the previous colour grading nodes.

Sometimes the shadows are not pure black as it is saturated or the saturation in shadows.
Desaturate the shadows will make it a film look.
Add a new serial node.
Scopes, Parade, check the lower end of RGB parade if they are balanced.
Curves tab, Lum Vs Sat.
Bring Saturation down in Shadows by lowering the left end of the curves on Lum Vs Sat, so to bring the RGB parade in balance.
Increase Saturation in Midtones.

作者: gzhjb 时间: 4-1-2020 21:42
High Key vs Low key Look

High Key and Low Key are different from each other mainly at Gamma.
High Key look: increase Gamma, put Midtone upwards.
Low Key look: Decrease Gamma, put Midtone downwards.

Low Key Look:
Decreasing Gamma, decreasing Saturation, increase Lift a little bit.
Add a serial node.
Give the Shadows a cooler look by pulling Lift towards blue and pull Gain towards Yellow.
May need to bring any other background highlights down a little bit in order to pop the main subject out.
Add a new serial node.
Add a new power window and place it on top of the background highlights.
Reduce Gamma even further and also reduce Saturation.
Always remember, the amount of light in the image and saturation should be balanced.
Generally speaking, the brighter the image it is, the more saturated it is; the darker the image, the less saturated it is.
May need to bring the main subject popping out a little bit more.
Add a new serial node.
Add a new power window and place it on top of the main subject (like the Face).
Then add a new Outside Node in order to control the outside of the main subject.
Then bring the Gamma even further down on the Outside Node.
Again reduce the Saturation.
Then select the power window of the main subject.
Hide the window in order to see the image better.
Increase the Gain a little bit while bring the Gamma down a little bit.
Bring the Saturation down.
Finally, we need to Track the inside Power Window.

High Key Look:
High Key Look usually has more saturated image.
Starting increasing the Saturation, also increase a bit Gamma to balance the image a bit more.
Then need to bring the Shadows down without affecting the Midtones.
Can't do this in Primaries Wheels.
Switch to Log.
Bring the Shadows down a bit.
If the image is bit green, change the Tint. The Tint balance the Green with Magenta.
Pull Tint to the right, reducing Green and increasing Magenta a bit.
Can also use the Offset to do the change.
To do that, pull the offset away from Green.
Increase the Saturation a bit again.
It is better to decrease the Saturation of the background (mainly Green for example).
Go to Curves and select Hue Vs Sat.
Use the Qualifier to pick up the Green from the background.
Reduce the Saturation by pulling down the centre dot on the Hue Vs Sat curves.
Add a new serial node.
Switch Colour Wheels to Primaries Wheels.
Increase the Gamma a bit.
Then switch Curves to Lum Vs Saturation.
Click the middle of the curves and then bring the left end (Shawdows) down a bit, and bring the Saturation up at the middle.

In order to reduce some blenishes on the Face.
Add a new serial node.
Switch to Qualifier.
Activiate the Hightlight Mode.
Click on the Face skin area.
On the Qualifiter tab, Hue, adjust the width in order to select most of the area of the Face.
On the Matte Finesse, increase the Denoise a bit and add a bit of Blur Rdius.
If some outside of the Face also be selected, simply add a power window to narrow down the selection to the Face area only.
Activate the Hightlight Mode.
Go to #2 tab, reduce the MD (Midtone) to remove the midtone details (blenishes), so to smooth the skin of the Face.
Go to Tracker, tracker forwards and backwards under Clip mode.
Switch to Frame mode if some detail tracking required.

作者: gzhjb 时间: 4-1-2020 21:42
本帖最后由 gzhjb 于 12-7-2020 21:21 编辑

Cross Precess Look

What it is...

Cross-processing (also known as 'x-pro') is the procedure of deliberately processing one type of film in a chemical solution intended for another type of film. As particular chemical solutions are optimized for specific kinds of film, you will get unpredictable and interesting results when they are combined differently.

Why do it...

The best thing about cross processing is THE ELEMENT OF SURPRISE. Try as you may, it is nearly impossible to predict exactly what effect cross processing will have on your images. But this is where the fun lies. Every roll of film you develop is like a box of rabid hamsters. You never know what you're gonna get!

Method 1: Primaries Wheels
Apply basic correction on the shot first. (Primary Balance, Primary Offset)
Add a new serial node.
Switch to Primaries Wheels.
Start by reducing blue on Highlights (Gain).
Do this by dragging Gain away a bit from blue towards yellow.
Then drag Lift (Shadows) in the other direction.
So increasing blue on Shadows.
Then add a new serial node.
Reduce Shadows a bit.
Increase Gamma a bit.
Reduce Saturation a bit.
Then add a new serial node.
Switch from Primaries Wheels to Log.
Then repeat the same process again.
To balance the Highlights and Shadows by pulling it to different directions.
Then reducing blue in Highlights and increasing blue in Shadows in Log mode.
Then reduce Saturation in Shadows.
Add a new serial node.
Go to Curves and select Lum Vs Saturation.
Reduce Saturation on Shadows a little bit.
Balance back again the Midtone.

Method 2: Curves

Method 3: Primaries Bars
Apply basic correction on the shot first. (Primary Balance, Primary Offset)
Add a new serial node.
Switch to Primaries Bars.
Reducing blue on Highlights (Gain).
Increaing blue on Shadows (Lift).
Reducing red on Shadows (Lift).
Then to add some contrast.
Bringing down Lum controller (Y) a little bit on Shadows (Lift).
Then increasing Gamma a little bit again.
Go to Curves and select Lum Vs Saturation.
Reduce Saturation on Shadows.
Balance back again the Midtone.

作者: gzhjb 时间: 5-2-2020 19:37
9 Cuts Every Video Editor Should Know

1 - 0:32 Standard Cut - putting two clips together, no fuss, no flare
2 - 0:42 Jump Cut - jump around scene to speed up time, one long cut, cut out spaces and putting it all together into one piece
3 - 1:06 J-Cut - Leading into the next scene with the audio.. allows audience know what's going to happen next. Drag audio clip of next clip onto tail of current clip
4 - 1:40 L-Cut - Audio from current clip overlaps into next clip - Good for conversational themes
5 - 2:10 Cutting on action - cut when a character moves a certain way, allows audiences eyes to stay on the action
6 - 2:30 Crosscutting / Parallel Editing - Have two narratives playing out at the same time
7 - 3:00 Cutaways - Cut to show viewer where you are in the scene
8 - 3:28 Montage - Sequences, light jumpcuts over an extended period of time over different locations
9 - 4:17 Matchcut - Matching characters actions into the next scene

https://youtu.be/Wv3Hmf2Dxlo

作者: gzhjb 时间: 5-2-2020 19:53
本帖最后由 gzhjb 于 29-11-2020 11:10 编辑

How to Make Screen Pump Bass Effect

[youtube]pvVxyaB-2Sg[/youtube]

作者: gzhjb 时间: 5-2-2020 19:59
本帖最后由 gzhjb 于 29-11-2020 11:11 编辑

How to Add White Flash Transition

[youtube]IMpvYBKoSxE[/youtube]

作者: gzhjb 时间: 5-2-2020 20:00
本帖最后由 gzhjb 于 29-11-2020 11:11 编辑

Can't Add Transitions Fix

[youtube]ue9JKDibYTg[/youtube]

作者: gzhjb 时间: 5-2-2020 21:46
本帖最后由 gzhjb 于 29-11-2020 11:11 编辑

How to Resize Video Clips and Images

[youtube]IYe5gsJdd-g[/youtube]

作者: gzhjb 时间: 5-2-2020 21:48
本帖最后由 gzhjb 于 29-11-2020 11:12 编辑

How to Add Film Grain Effect

[youtube]jPg9n2Jf2II[/youtube]

作者: gzhjb 时间: 5-2-2020 21:51
本帖最后由 gzhjb 于 29-11-2020 11:12 编辑

Smooth Zoom Blur Transition

[youtube]JrCBypSPsLQ[/youtube]

作者: gzhjb 时间: 5-2-2020 21:54
本帖最后由 gzhjb 于 29-11-2020 11:13 编辑

Quick Green Screen Tutorial

[youtube]es5KwkdpSQs[/youtube]

作者: gzhjb 时间: 6-2-2020 21:35
本帖最后由 gzhjb 于 29-11-2020 11:13 编辑

How to Shoot an Interview

[youtube]J7ENEuqXDwY[/youtube]

作者: gzhjb 时间: 7-2-2020 22:04
Ansel Adams Zone System

作者: gzhjb 时间: 7-2-2020 22:29
本帖最后由 gzhjb 于 12-7-2020 21:58 编辑

Basic Workflow of Colour Grading:

WB

Contrast

Colour Balance

Saturation

Sharpness

Lut

作者: gzhjb 时间: 24-5-2020 20:58
本帖最后由 gzhjb 于 24-5-2020 20:05 编辑

- Genre 类型、流派
acoustic 原声乐器
ambient 背景音乐
cinematic 电影的
classical 古典音乐
electronic 电子音乐
faith 信仰
folk 民族
hip hop 嘻哈
indie 独立、非主流
pop 流行音乐
rock 摇滚
r&b 蓝调音乐（Rhythm and Blues）
singer-songwriter 创作型歌手

- mood 气氛、情绪
aggressive 进取的
anthemic 欢快激情的
bold 大胆的
burdened 负重的
carefree 无忧无虑的
chill 寒冷的
cold 冷淡的
cheerful 快乐的
earthy 朴实的
empowering 充电赋能的
epic 史诗般宏大的
exciting 令人兴奋的
gritty 坚韧不拔的
hopeful 充满希望的
happy 幸福的
loving 钟情的
minimal 简洁的
peaceful 平和的
rebellious 桀骜不驯的
romantic 浪漫的
sinister 阴险灾难的
whimsical 怪诞的
youthful 充满朝气的
upbeat 乐观积极向上的
tense 紧张的
vintage 古老的
quirky 古怪离奇的

- element 成分元素
claps 拍手
ooo's & ahh's
drumsticks 鼓槌
guitar 吉它
bass 贝斯
snare 响弦
snaps 叩击
piano 钢琴
acoustic 声乐
strings 弦乐

- energy 能量
low 低沉
medium 平和
high 高亢

- vocals 声乐
female 女声
harmony 合声
male 男声

作者: gzhjb 时间: 27-5-2020 22:29
本帖最后由 gzhjb 于 28-11-2020 20:07 编辑

29个常用的快捷键或者常用操作汇总：

1. Optimized Media
2. Consistent Folder Structure: Footage, Music, SoundFX, Stills.
3. Smart Bin
4. Use Metadata
5. Live Media Preview
6. Set Poster Frame
7. Source Tape
8. Cope and Paste Attributes
9. Disable a Clip: D=Disable
10. Duplicate a Clip: Shift & Alt, Drag
11. Cut a Clip at Playhead: Ctrl & B
12. Zooming: Ctrl & - / +
13. Cropping Clip vs. Output Blanking: Cropping Clip: clip, inspector, cropping. Output Blanking: Colour page, sizing, output sizing, blanking.
14. Copy from Another Project
15. Play from IN point: Alt & /, or loop
16. Tool Shortcuts
17. Markers / Note: double click on Markers to get a window option. Click M for adding a marker on a clip at the play head.
18. Copy & Paste Colour Grades
19. Save Grade Preset: View, Stills, Grab Still
20. Groups
21. Working with LUTs
22. Key your LUTs: Key, Key Output
23. View Only Certain Clips: Clips, Graded Clips or Ungraded Clips
24. Super Clean Blacks: Lum vs Sat, drag the left end to bottom in order to get super clean black.
25. Slightly Bigger Viewer: Ctrl & F
26. Name Your Tracks
27. CAUTION about Mono vs. Stereo Tracks
28. Create Templates
29. Create & Use Delivery Presets

作者: gzhjb 时间: 2-7-2020 23:56
本帖最后由 gzhjb 于 2-7-2020 23:09 编辑

Snapping - N, toggle it by holding N key when moving a clip.

Ctrl - / +, zoom in or out.

Shift Z, zoom all the way out to fit the entire timeline or all the way in to where I was.

Shift & Ctrl with a click and hold one clip, drag it to anywhere to swap the position with another clip.

Ripple Overwrite, overwrite the existing clip with the new drag-in clip, no matter the length difference between the two.

作者: gzhjb 时间: 10-7-2020 08:17
Ctrl + F: Fullscreen Playback or Cinema Viewer mode.

作者: gzhjb 时间: 11-7-2020 21:11
本帖最后由 gzhjb 于 11-7-2020 20:24 编辑

Lift, Gamma, Gain

are responsible for:

Shadows, Midtones, Highlights.

Double click the centre of Colour Wheels will reset all adjustments.

The dark horizontal sliders under each Colour Wheels are the Master Wheels for Luminous control.

作者: gzhjb 时间: 11-7-2020 21:46
本帖最后由 gzhjb 于 22-9-2021 20:08 编辑

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 = 1

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

作者: gzhjb 时间: 12-7-2020 11:38
本帖最后由 gzhjb 于 12-7-2020 19:02 编辑

When on the tab of Colour page.

Right-click on the clip playback screen, in the pop window, you can choose:

Grab Still,
.
.
.
.
Show picker RGB value.

作者: gzhjb 时间: 12-7-2020 11:42
本帖最后由 gzhjb 于 12-7-2020 10:45 编辑

Middle-click on the clip playback viewer (when zoomed in already), you can move around the screen in order to focus on the area you are working on.

Shift + Z can zoom the viewer to fit.

作者: gzhjb 时间: 12-7-2020 12:00
Ctrl + Z: undo
Shift + Ctrl + Z: redo

作者: gzhjb 时间: 12-7-2020 12:31
Auto Match two clips, Clip A and Clip B.

If you think Clip B is better than A and you want to match A to B look:

Left-click Clip A, then Right-click Clip B, from the pop-menu, choose "Shot Match to this Clip".

作者: gzhjb 时间: 12-7-2020 13:01
Primary Grading: Normalisation, Balance, Contrast on the whole clips.
Secondary Grading: Any adjustments on the part subject in the clips.

作者: gzhjb 时间: 12-7-2020 13:03
Secondary Grading:

In order to apply some adjustments on only part of the subject in the clips, two methods can be used.

Key or Mask.

作者: gzhjb 时间: 12-7-2020 23:03
本帖最后由 gzhjb 于 12-7-2020 22:06 编辑

How to Copy and Paste Colour Grading and Nodes in DaVinci Resolve

Method 1:
Finished the first clip, then move to the next one, and hit the "=" on the keyboard.

Method 2:
Finished the first clip, then select multi clips, then right-click on the first clip, choose "Apply Grade" from the pop-menu.

作者: gzhjb 时间: 13-7-2020 19:42
Free BGM and Sound Effect

www.looperman.com

freesound.com

sc.chinaz.com

www.2gei.com

作者: gzhjb 时间: 13-7-2020 19:46
BGM

作者: gzhjb 时间: 13-7-2020 21:32
Firelight

Replay the soundtracks and check the Meter, make sure:

Dialogue: around the level of yellow.
BGM: around the level of green.

作者: gzhjb 时间: 13-7-2020 22:12
本帖最后由 gzhjb 于 11-9-2020 20:54 编辑

How to Edit to Music in DaVinci Resolve 16

[youtube]zYkvd-iBQ_k[/youtube]

I found this video very helpful.

作者: gzhjb 时间: 13-7-2020 22:22
Ctrl + \: Cut

作者: gzhjb 时间: 11-9-2020 21:53
Davinci Resolve 16 Object Removal

[youtube]RtPkcSmXlik[/youtube]

作者: gzhjb 时间: 12-9-2020 18:31
Only when Playback / Proxy Mode is set on Off, your computer can use Render Cache.

作者: gzhjb 时间: 12-9-2020 18:31
For Render Cache on PC, it is normally set on DNxHR SQ.

作者: gzhjb 时间: 12-9-2020 18:34
Ctrl + F: Cinema Viewer mode. (Full Screen Mode)

作者: gzhjb 时间: 12-9-2020 18:46
本帖最后由 gzhjb 于 12-9-2020 17:56 编辑

Adding Clips to Timeline (Multi Options Mode)

Click and Drag the clip from the Media Pool or the Source Monitor Display, to the Timeline Monitor Display, it will bring up a pop window with all the options as listed below:

Insert

Overwrite

Replace

Fit to Fill

Place on Top

Append at End

Ripple Overwriter

NOTICE: Watch out the position of the Playhead.

作者: gzhjb 时间: 14-9-2020 21:28
本帖最后由 gzhjb 于 14-9-2020 20:29 编辑

Disabling Clips:

Keyboard shortcut: D

Or

Right Click the clip, Uncheck: Enable Clip.

作者: gzhjb 时间: 14-9-2020 21:40
Select Clips Backward

Select Clips Backward on This Track: Ctrl + Y
Select Clips Backward on All Tracks: Ctrl + Alt + Y

Select Clips Forward

Select Clips Forward on This Track: Y
Select Clips Forward on All Tracks: Alt + Y

作者: gzhjb 时间: 14-9-2020 21:56
Go to Last Position:

Right Click the square Stop button, check / uncheck the "Stop and Go To Last Position".

Now, you can manually locate the playhead and hit the "Space" bar to start or stop playing.

作者: gzhjb 时间: 14-9-2020 22:16
Show Duplicate Frames

View - Show Duplicate Frames

作者: gzhjb 时间: 14-9-2020 23:02
本帖最后由 gzhjb 于 14-9-2020 22:29 编辑

Retime And Scaling

Every time you need to retime a clip, remember to set the following the options in order to get the best outcome:

Retime Process: Project Settings / Nearest / Frame Blend / Optical Flow

Motion Estimation: Project Settings / Standard Faster / Standard Better / Enhanced Faster / Enhanced Better / Speed Warp

Scaling: Project Settings / Crop / Fit / Fill / Stretch

Resize Filter: Project Settings / Sharper / Smoother / Bicubic / Bilinear

作者: gzhjb 时间: 27-9-2020 20:20
Make VOCALS Sound PROFESSIONAL in DaVinci Resolve 16

1. Right Click the clip, Select "Normalize Audio Levels". Target Level set at -8 dBFS normally. What normalization does is to raise or lower your clip so that the highest level in that clip matches your target level settings.
2. Then jump over into the Fairlight and start working on more details.
3. Start from Dynamics by double click the "Dynamics".
4. Turn on the "Compressor". The compressor is gonna compress your audio once it gets past a certain point or threshold and that's going to help limit your audio from peaking or going above a certain level that you choose.
5. Firstly look at the "Make Up". You can think about it as boosting the volume.
6. Remember to click on the "Send" button. The "Send" button tells DaVinci Resolve who send the signal of this channel out to any other channels that may be listening.

[youtube]js05XPdRy-0[/youtube]

作者: gzhjb 时间: 29-11-2020 09:55
本帖最后由 gzhjb 于 26-12-2020 21:41 编辑

Audio Ducking in DaVinci Resolve

To duck the BGM automatically when vocal audio or main audio clips play:
0. Change to Tab of Fairlight;
1. Double-click the Dynamics of the main audio; (Make sure Mixer is ON)
2. Click the Send;
3. Select BGM track by clicking the clip/clips;
4. Click the Listen;
5. Click the Compressor;
6. Play with the Threshold and Ratio;

[youtube]dw88MGM9w0o[/youtube]

作者: gzhjb 时间: 29-11-2020 18:45
# see EBNF grammar in UiKeyBindings.cpp

# because this is OS X, our "Ctrl" string means Command, "Alt" is Option and
# "Meta" is Control.

#------------------------------------------------------------------------------
# Resolve File Edit View Mark Playback Color Nodes Help
#------------------------------------------------------------------------------

# Resolve
resolveAbout :=
resolvePreferences := Ctrl+,
resolveCustomizedActions := Ctrl+Alt+K
resolveQuit := Ctrl+Q

# File
fileNewProject :=
fileNewFolder := Ctrl+Shift+N
fileNewTimeline := Ctrl+N
fileSaveProject := Ctrl+S
fileSaveProjectAs := Ctrl+Shift+S
fileExportXml := Ctrl+Shift+O
fileImportProject :=
fileImportMedia := Ctrl+I
fileImportXml := Ctrl+Shift+I
fileImportBatchListFromEDL :=
fileExportProject := Ctrl+E
fileProjectManager := Shift+1
fileProjectSettings := Shift+9

# Edit
editUndo := Ctrl+Z | `
editRedo := Ctrl+Shift+Z
editCut := Cut
editCopy := Copy
editRippleCut := Ctrl+Shift+X
editPaste := Paste
editPasteInsert := Ctrl+Shift+V
editPasteAttributes := Alt+V
editPasteValue := Alt+Shift+V
editSelectAll := Ctrl+A
editDeselectAll := Ctrl+Shift+A
editSelectSubNext := Ctrl+Right
editSelectSubPrevious := Ctrl+Left
editSelectSubAbove := Ctrl+Up
editSelectSubBelow := Ctrl+Down
# "Del" = "Delete". this key does not exist on compact Mac keyboards,
# so provide Shift+Backspace as an equivalent alternative. although both
# keys will trigger the shortcut, the menu only shows the first one.
# because Del lacks a menu representation, put it last.)
editDelete := Shift+Backspace | Del
editBackspace := Backspace
editInsertOverwriteActionInsert := F9
editInsertOverwriteActionOverwrite := F10
editInsertOverwriteActionReplace := F11
editInsertOverwriteActionPlaceOnTop := F12
editInsertOverwriteActionRippleOverwrite := Shift+F10
editInsertOverwriteActionFitToFill := Shift+F11
editInsertOverwriteActionAppendAtEnd := Shift+F12
editMulticamPrevAngle := Shift+Ctrl+Left
editMulticamNextAngle := Shift+Ctrl+Right
editMulticamPrevPage := Alt+Shift+Left
editMulticamNextPage := Alt+Shift+Right
editMulticamTgtAudioAndVideo := Alt+Shift+[
editMulticamTgtVideo := Alt+Shift+]
editMulticamTgtAudio := Alt+Shift+\
editNudgeSwapEditForward := Ctrl+Shift+.
editNudgeSwapEditReverse := Ctrl+Shift+,
editRevivalUndo := Ctrl+Alt+Z
editRevivalRedo := Ctrl+Alt+X
editMediaStereoModeToLeft := Alt+Shift+,
editMediaStereoModeToRight := Alt+Shift+.
editMediaStereoModeToBoth := Alt+Shift+/
editMoveClipsUp := Alt+Up
editMoveClipsDown := Alt+Down
editSwitchToTimelineAfterEdit := Alt+Shift+Q

# Trim
editSelectItemAtPlayhead := Shift+V
editPointer := A
editRangeSelection := R
editTrim := T
editSelectEditPoint := v
trimSelectVideoEditPoint := Alt+E
trimSelectAudioEditPoint := Shift+E
editToggleEditPointType := u
editToggleVideoAudioSelection := Alt+U
editNudgeTrimStepNudgeForward := .
editNudgeTrimStepNudgeReverse := ,
editNudgeTrimStepTrimMultiFrameLeft := Shift+,
editNudgeTrimStepTrimMultiFrameRight := Shift+.
editSlipAudioOneFrameForward := Alt+.
editSlipAudioOneFrameReverse := Alt+,
editSlipAudioOneSubFrameForward := Alt+Right
editSlipAudioOneSubFrameReverse := Alt+Left
editSlipEyeOppositeEyeOneFrameForward := Alt+Ctrl+.
editSlipEyeOppositeEyeOneFrameReverse := Alt+Ctrl+,
editNudgeTrimStepTrimStart := Shift+[
editNudgeTrimStepTrimEnd := Shift+]
editNudgeTrimStepExtendEdit := E
editToggleDynamicTrimMode := W
editDynamicTrimStop := Ctrl+K
trimRippleStartToPlayhead := Ctrl+Shift+[
trimRippleEndToPlayhead := Ctrl+Shift+]
trimToggleSlideMode := S
editBlade := B
trimFadeInToPlayhead := Alt+Shift+D
trimFadeOutToPlayhead := Alt+Shift+G

# Timeline
editM2SplitClip := Ctrl+\
editM2JoinClip := Alt+\
editBladeRazor := Ctrl+B
editSelectClipsSelectTrackBefore := Ctrl+Y
editSelectClipsSelectAllBefore := Ctrl+Alt+Y
editSelectClipsSelectTrackAfter := Y
editSelectClipsSelectAllAfter := Alt+Y
timelineSelectionFollowsTimeline :=
editSnapping := N
editScrubAudio := Shift+S
editLinkedSelection := Shift+Ctrl+L
#timelineLinkedSelectionInvert := Alt
# Ctrl+Shift and Alt-Shift seem to have some OS conflicts
editTrackDestinationSelectionTargetV := Alt+1
editTrackDestinationSelectionTargetV2 := Alt+2
editTrackDestinationSelectionTargetV3 := Alt+3
editTrackDestinationSelectionTargetV4 := Alt+4
editTrackDestinationSelectionTargetV5 := Alt+5
editTrackDestinationSelectionTargetV6 := Alt+6
editTrackDestinationSelectionTargetV7 := Alt+7
editTrackDestinationSelectionTargetV8 := Alt+8
editTrackDestinationSelectionTargetA := Alt+Ctrl+1
editTrackDestinationSelectionTargetA2 := Alt+Ctrl+2
editTrackDestinationSelectionTargetA3 := Alt+Ctrl+3
editTrackDestinationSelectionTargetA4 := Alt+Ctrl+4
editTrackDestinationSelectionTargetA5 := Alt+Ctrl+5
editTrackDestinationSelectionTargetA6 := Alt+Ctrl+6
editTrackDestinationSelectionTargetA7 := Alt+Ctrl+7
editTrackDestinationSelectionTargetA8 := Alt+Ctrl+8
editVideoMoveTrackDestinationUp := Ctrl+Shift+Up
editVideoMoveTrackDestinationDown := Ctrl+Shift+Down
editAudioMoveTrackDestinationUp := Ctrl+Alt+Up
editAudioMoveTrackDestinationDown := Ctrl+Alt+Down
editTrackLockToggleV1 := Alt+Shift+1
editTrackLockToggleV2 := Alt+Shift+2
editTrackLockToggleV3 := Alt+Shift+3
editTrackLockToggleV4 := Alt+Shift+4
editTrackLockToggleV5 := Alt+Shift+5
editTrackLockToggleV6 := Alt+Shift+6
editTrackLockToggleV7 := Alt+Shift+7
editTrackLockToggleV8 := Alt+Shift+8
editTrackLockToggleV := Alt+Shift+9
editTrackLockToggleA1 := Alt+Shift+F1
editTrackLockToggleA2 := Alt+Shift+F2
editTrackLockToggleA3 := Alt+Shift+F3
editTrackLockToggleA4 := Alt+Shift+F4
editTrackLockToggleA5 := Alt+Shift+F5
editTrackLockToggleA6 := Alt+Shift+F6
editTrackLockToggleA7 := Alt+Shift+F7
editTrackLockToggleA8 := Alt+Shift+F8
editTrackLockToggleA := Alt+Shift+F9
editAutoSelectToggleVideo1 := Alt+F1
editAutoSelectToggleVideo2 := Alt+F2
editAutoSelectToggleVideo3 := Alt+F3
editAutoSelectToggleVideo4 := Alt+F4
editAutoSelectToggleVideo5 := Alt+F5
editAutoSelectToggleVideo6 := Alt+F6
editAutoSelectToggleVideo7 := Alt+F7
editAutoSelectToggleVideo8 := Alt+F8
editAutoSelectToggleVideoAll := Alt+F9
editAutoSelectToggleAudio1 := Alt+Ctrl+F1
editAutoSelectToggleAudio2 := Alt+Ctrl+F2
editAutoSelectToggleAudio3 := Alt+Ctrl+F3
editAutoSelectToggleAudio4 := Alt+Ctrl+F4
editAutoSelectToggleAudio5 := Alt+Ctrl+F5
editAutoSelectToggleAudio6 := Alt+Ctrl+F6
editAutoSelectToggleAudio7 := Alt+Ctrl+F7
editAutoSelectToggleAudio8 := Alt+Ctrl+F8
editAutoSelectToggleAudioAll := Alt+Ctrl+F9
editEnableDisableToggleVideoTrack1 := Shift+Ctrl+1
editEnableDisableToggleVideoTrack2 := Shift+Ctrl+2
editEnableDisableToggleVideoTrack3 := Shift+Ctrl+3
editEnableDisableToggleVideoTrack4 := Shift+Ctrl+4
editEnableDisableToggleVideoTrack5 := Shift+Ctrl+5
editEnableDisableToggleVideoTrack6 := Shift+Ctrl+6
editEnableDisableToggleVideoTrack7 := Shift+Ctrl+7
editEnableDisableToggleVideoTrack8 := Shift+Ctrl+8
editEnableDisableToggleVideoTrackAll := Shift+Ctrl+9
editAddTransition := Ctrl+T
editAddVideoTransition := Alt+T
editAddAudioTransition := Shift+T
editMatchFrame := F
timelineSourceViewerSwap := Ctrl+PgUp

# Clip
clipChangeClipSpeed := R
clipRetimeControls := Ctrl+R
clipChangeClipDuration := Ctrl+D
clipFreezeFrame := Shift+R
clipResetRetime := Alt+Ctrl+R
editClipEnabled := D
editLink := Ctrl+Alt+L
clipShowKeyframeEditor := Shift+Ctrl+C
clipShowCurveEditor := Shift+C
clipAudioIncreaseAudioLevel1dB := Ctrl+Alt+=
clipAudioDecreaseAudioLevel1dB := Ctrl+Alt+-
clipAudioIncreaseAudioLevel3dB := Alt+Shift+=
clipAudioDecreaseAudioLevel3dB := Alt+Shift+-
editMulticamCutToAngle1 := 1
editMulticamCutToAngle2 := 2
editMulticamCutToAngle3 := 3
editMulticamCutToAngle4 := 4
editMulticamCutToAngle5 := 5
editMulticamCutToAngle6 := 6
editMulticamCutToAngle7 := 7
editMulticamCutToAngle8 := 8
editMulticamCutToAngle9 := 9
editMulticamSwitchToAngle1 := Alt+1
editMulticamSwitchToAngle2 := Alt+2
editMulticamSwitchToAngle3 := Alt+3
editMulticamSwitchToAngle4 := Alt+4
editMulticamSwitchToAngle5 := Alt+5
editMulticamSwitchToAngle6 := Alt+6
editMulticamSwitchToAngle7 := Alt+7
editMulticamSwitchToAngle8 := Alt+8
editMulticamSwitchToAngle9 := Alt+9

# View
viewStillsStillGrab := Ctrl+Alt+G
viewStillsStillPlay := Ctrl+Alt+F
viewStillsStillNext := Ctrl+Alt+N
viewStillsStillPrev := Ctrl+Alt+B
viewStereoSwitchEyeCycle := Ctrl+.
viewHighlightHighlight := Shift+H
viewHighlightHighlightBW := Alt+Shift+H
viewHighlightHighlightDiff := Shift+Ctrl+H
viewBypassColorGrades := Shift+D
viewReferenceWipeToggle := Ctrl+W
viewReferenceWipeModeCycle := Alt+Shift+W
viewReferenceWipeStyleCycle := Shift+W
viewReferenceWipeInvert := Alt+W
viewReferenceReposition := Alt+Shift+R
viewTimelineWipeOneFrameReverse := Alt+Ctrl+Left
viewTimelineWipeOneFrameForward := Alt+Ctrl+Right
viewWindowOutlineCycle := Alt+H
viewTimelineModeCycle := Ctrl+PgDown
viewTimelineModeRecord :=
viewTimelineModeSource :=
viewZoomActualSize := Alt+Shift+Z
viewZoomViewerToFit := Z
viewZoomSubZoomToFit := Shift+Z
viewZoomSubZoomIn := Ctrl+= | Ctrl++
viewZoomSubZoomOut := Ctrl+-
viewZoomDefaultZoom := Ctrl+0
viewSplitScreenModeOnOffToggle := Alt+Ctrl+W
clipFindClipInMediaPool := Alt+F
viewViewerToggle := Q
viewViewerSourceModeToggle := Shift+Q
viewActiveWindowSelectionSourceViewer := Ctrl+3
viewActiveWindowSelectionTimelineViewer := Ctrl+5
viewActiveWindowSelectionTimeline := Ctrl+4
viewActiveWindowSelectionMediaPoolFolders := Ctrl+1
viewActiveWindowSelectionMediaPoolClips := Ctrl+2
viewActiveWindowSelectionEffects := Ctrl+6
viewActiveWindowSelectionEditIndex := Ctrl+7
viewActiveWindowSelectionInspector := Ctrl+9
viewTogglePrimariesLogMode := Alt+Z
viewChannelsRGB := Ctrl+Shift+0
#viewOpenCloseBins :=
viewSafeAreaToggle :=
viewShowViewerOverlay := Shift+`
workspaceRemoteGrading := Ctrl+G
workspacePrimaryWorkspaceMedia := Shift+2
workspacePrimaryWorkspaceFirstCut := Shift+3
workspacePrimaryWorkspaceEdit := Shift+4
workspacePrimaryWorkspaceFusion := Shift+5
workspacePrimaryWorkspaceColor := Shift+6
workspacePrimaryWorkspaceAudio := Shift+7
workspacePrimaryWorkspaceDeliver := Shift+8
workspaceVideoScopesToggle := Ctrl+Shift+W
workspaceViewerModeEnhancedViewer := Alt+F
workspaceViewerModeFullViewer := Shift+F
workspaceViewerModeCinemaViewer := Ctrl+F | P
workspaceLightboxView := Shift+Ctrl+F
gangSourceTimelinePlayheads := Alt+Q

# Mark
markIn := I
markOut := O
markVideoIn := Alt+Shift+I
markVideoOut := Alt+Shift+O
markAudioIn := Alt+Ctrl+I
markAudioOut := Alt+Ctrl+O
markConvertInOutToDurationMarker :=
markConvertDurationMarkerToInOut :=
markClip := X
markSelected := Shift+A
markResetIn := Alt+I
markResetOut := Alt+O
markResetInOut := Alt+X
color.markResetIn :=
color.markResetOut :=
markVideoResetInOut := Alt+Shift+X
markAudioResetInOut := Alt+Ctrl+X
markKeyframeTimelineModeCycle :=
markKeyframeMakeDynamic := Ctrl+[
markKeyframeMakeStatic := Ctrl+]
markKeyframeDelete := Alt+]
markKeyframeDeleteAll :=
markMoveSelectedKeyframesLeft :=
markMoveSelectedKeyframesRight :=
markMoveSelectedKeyframesUp :=
markMoveSelectedKeyframesDown :=
markMarkerAdd := M
markMarkerModify := Shift+M
markMarkerAddAndModify := Ctrl+M
markMarkerSecondaryAdd := Ctrl+M
markMarkerClear := Alt+M
markFlagAdd := G
markFlagClearAll :=
markCreateSubClip := Alt+B

# Playback
controlPlayForward := L
controlPlayReverse := J
controlStop := K
controlFastForward := Shift+L
controlFastReverse := Shift+J
controlPlaySlow := Shift+K
controlPlayToggle := Space
controlLoop := Ctrl+/
controlStepForward := Right
controlStepReverse := Left
controlLargeStepForward := Shift+Right
controlLargeStepReverse := Shift+Left
controlPlayAgain := Alt+L
#controlAudioStepForward :=
#controlAudioStepReverse :=
controlClipPrev := Up
controlClipNext := Down
controlJumpLeft := Alt+Ctrl+Left
controlJumpRight := Alt+Ctrl+Right
controlMarkersPrev := Shift+Up
controlMarkersNext := Shift+Down
controlTimecode := = | Numpad+=
controlTimecodeIncrement := + | Numpad++
controlTimecodeDecrement := - | Numpad+-
controlFirstFrame := ;
controlLastFrame := '
controlKeyframePrev := [
controlKeyframeNext := ]
controlGapPrev := Alt+Ctrl+;
controlGapNext := Alt+Ctrl+'
controlTimelineStart := Home
controlTimelineEnd := End
controlGotoIn := Shift+I
controlGotoOut := Shift+O
controlPlayAroundToPlayAroundCurrentSelection := /
controlPlayAroundToPlayAroundCurrentClip := Shift+/
controlPlayAroundToPlayInToOut := Alt+/
controlPlayAroundToPlayAroundIn := Alt+Space
controlPlayAroundToPlayAroundOut := Shift+Space
controlPlayAroundToPlayToIn :=
controlPlayAroundToPlayToOut := Alt+Ctrl+/

controlScannerPerfStepForward := Ctrl+L
controlScannerPerfStepReverse := Ctrl+J
controlScannerFramingMoveReverse := Ctrl+Left
controlScannerFramingMoveForward := Ctrl+Right

sessionTrackForward := Ctrl+T
sessionTrackReverse := Alt+T
sessionTrackStop := Ctrl+Alt+T
sessionTrackOneFrameForward := Alt+Right
sessionTrackOneFrameReverse := Alt+Left
controlRenderCacheCycle := Alt+R

# Color
sessionBaseMemory := Shift+Home
sessionBaseMemoryAll := Ctrl+Shift+Home
sessionBaseMemoryReset := Ctrl+Home
sessionPreviewMemory := Alt+Shift+P
sessionOriginalMemory := Alt+Shift+O
sessionGradeFromOneClipPrior := Shift+=
sessionGradeFromTwoClipsPrior := Shift+-
sessionVersionAdd:= Ctrl+Y
sessionVersionDefault:= Ctrl+U
sessionVersionPrev := Ctrl+B
sessionVersionNext := Ctrl+N
sessionAutoColor := Alt+Shift+C
sessionMemoriesLoadA := Ctrl+1
sessionMemoriesLoadB := Ctrl+2
sessionMemoriesLoadC := Ctrl+3
sessionMemoriesLoadD := Ctrl+4
sessionMemoriesLoadE := Ctrl+5
sessionMemoriesLoadF := Ctrl+6
sessionMemoriesLoadG := Ctrl+7
sessionMemoriesLoadH := Ctrl+8
sessionMemoriesSaveA := Alt+1
sessionMemoriesSaveB := Alt+2
sessionMemoriesSaveC := Alt+3
sessionMemoriesSaveD := Alt+4
sessionMemoriesSaveE := Alt+5
sessionMemoriesSaveF := Alt+6
sessionMemoriesSaveG := Alt+7
sessionMemoriesSaveH := Alt+8
sessionPrinterLightsEnable := Ctrl+Alt+`
sessionPrinterLightsMasterPlus := Numpad++
sessionPrinterLightsMasterMinus := Numpad+Enter
sessionPrinterLightsRedPlus := Numpad+7
sessionPrinterLightsRedMinus := Numpad+4
sessionPrinterLightsGreenPlus := Numpad+8
sessionPrinterLightsGreenMinus := Numpad+5
sessionPrinterLightsBluePlus := Numpad+9
sessionPrinterLightsBlueMinus := Numpad+6
sessionPrinterLightsCyanPlus := Numpad+1
sessionPrinterLightsCyanMinus := Numpad+-
sessionPrinterLightsMagPlus := Numpad+2
sessionPrinterLightsMagMinus := Numpad+0
sessionPrinterLightsYelPlus := Numpad+3
sessionPrinterLightsYelMinus := Numpad+.
sessionPrinterLightsMasterQuarterPlus := Ctrl+Numpad++
sessionPrinterLightsMasterQuarterMinus := Ctrl+Numpad+Enter
sessionPrinterLightsRedQuarterPlus := Ctrl+Numpad+7
sessionPrinterLightsRedQuarterMinus := Ctrl+Numpad+4
sessionPrinterLightsGreenQuarterPlus := Ctrl+Numpad+8
sessionPrinterLightsGreenQuarterMinus := Ctrl+Numpad+5
sessionPrinterLightsBlueQuarterPlus := Ctrl+Numpad+9
sessionPrinterLightsBlueQuarterMinus := Ctrl+Numpad+6
sessionPrinterLightsCyanQuarterPlus := Ctrl+Numpad+1
sessionPrinterLightsCyanQuarterMinus := Ctrl+Numpad+-
sessionPrinterLightsMagQuarterPlus := Ctrl+Numpad+2
sessionPrinterLightsMagQuarterMinus := Ctrl+Numpad+0
sessionPrinterLightsYelQuarterPlus := Ctrl+Numpad+3
sessionPrinterLightsYelQuarterMinus := Ctrl+Numpad+.
sessionLiveGrade := Ctrl+R
sessionLiveGradePause := Shift+Ctrl+R
sessionGrabLiveGradeFrame := Ctrl+Alt+R

# Nodes
nodesPrevious := Alt+Shift+;
nodesNext := Alt+Shift+'
nodesAddSerial := Alt+S
nodesAddBefore := Shift+S
nodesAddParallel := Alt+P
nodesAddLayer := Alt+L
nodesAppend := Alt+K
nodesAddOutside := Alt+O
nodesAddSplitterCombiner := Alt+Y
nodesAddCPW := Alt+C
nodesAddLPW := Alt+Q
nodesAddPPW := Alt+G
nodesAddPCW := Alt+B
nodesToggleCurrent := Ctrl+D
nodesToggleAll := Alt+D
nodesExtractCurrent := E
#nodesDeleteCurrent := Del | Backspace

# Fairlight
FairlightTimeline.trimExtendEditSelectionToNextEdit := Shift+Tab | Ctrl+Shift+'
FairlightTimeline.trimExtendEditSelectionToNextTrack := Ctrl+Shift+;
FairlightTimeline.trimExtendEditSelectionToPreviousEdit := Ctrl+Shift+L
FairlightTimeline.trimExtendEditSelectionToPreviousTrack := Ctrl+Shift+P
FairlightTimeline.trimMoveEditSelectionToNextEdit := Ctrl+' | Tab
FairlightTimeline.trimMoveEditSelectionToNextFrame := Ctrl+Alt+.
FairlightTimeline.trimMoveEditSelectionToNextTrack := Ctrl+;
FairlightTimeline.trimMoveEditSelectionToPreviousEdit := Ctrl+L
FairlightTimeline.trimMoveEditSelectionToPreviousFrame := Ctrl+Alt+,
FairlightTimeline.trimMoveEditSelectionToPreviousTrack := Ctrl+P
FairlightTimeline.controlFirstFrame :=
FairlightTimeline.controlLastFrame:=
FairlightTimeline.editAddTransition :=
FairlightTimeline.trimTrimToSelection := Ctrl+Shift+T
FairlightTimeline.trimCrossfadeSelection := Alt+Shift+F
FairlightTimeline.viewTrackWaveformResetZoomAllTracks := Ctrl+Alt+R
FairlightTimeline.viewTrackWaveformResetZoomSelectedTracks := Alt+Shift+R
FairlightTimeline.editDuplicateSelection := Ctrl+Shift+D

# Help
helpManual :=

# Context Menu
# MediaPool
MediaPool.Context_setPosterFrame := Ctrl+P
MediaPool.Context_clearPosterFrame := Alt+P

作者: gzhjb 时间: 24-12-2020 21:23
本帖最后由 gzhjb 于 26-12-2020 21:34 编辑

Camera Techniques

Extreme Wide Shot (Establishing Shot)
Wide Shot
Mid Shot
Medium Close Up
Close Up
Extreme Close Up
Rule of Thirds
High Angle
Low Angle
Over The Shoulder
180 Degree Rule
Lens Compression
Pan Shot
Tilt Shot
Crab Shot
Tracking Shot
Focus Pull

Edit

Jump Cut
Match On Action
Slow Paced Editing
Fast Paced Editing
Colour Grading
Transtions

Sound

Shot Gun Mic
Condense Mic

LightingKey Light
Fill Light
Hire Light (Rim Light, Back Light)

作者: gzhjb 时间: 26-12-2020 21:57
本帖最后由 gzhjb 于 26-12-2020 22:24 编辑

How to EQ Vocals in Davinci Resolve Fairlight - Enhance Audio Quality

0. Change to Tab of Fairlight.
1. Select the Audio Track to work on.
2. Double-click the EQ. (Make sure the Mixer is ON)
3. Band 1, Turn down to around 100.
4. Band 6, Turn down to around 14k.
5. Now start to work with the area between 1k to 2k, which is around Band 4.
6. Turn Q Factor to around Maximum. (Q Factor 10.3)
7. Lift Band 4 to around Maximum. (Gain +20)
8. Listen to the Audio track, while Sweeping Frequencies for Bad Audio.
9. Bring the Bad Audio down to Minumum.

[youtube]s_8C5O_pycM[/youtube]

作者: gzhjb 时间: 27-12-2020 15:56
How to SHARPEN FOOTAGE in Davinci Resolve

[youtube]swW95i3jLE8[/youtube]

作者: gzhjb 时间: 22-3-2021 10:29
本帖最后由 gzhjb 于 22-3-2021 10:30 编辑

FONT

ARVERNIR NEXT / ULTRA LIGHT OR BOLD

作者: gzhjb 时间: 23-3-2021 19:35
本帖最后由 gzhjb 于 23-3-2021 19:42 编辑

Primaires Colour Wheels: mainly for Colour Correction, from LOG file / flat image to normal colourful image, to make Black real black and White real white.

Lift for Black
Gamma for Mid Tone
Gain for White

Log Colour Wheels: mainly for Colour Grading / Contrast / Popout.

Shadow
Modtone
Hightlight

作者: gzhjb 时间: 23-3-2021 19:48
本帖最后由 gzhjb 于 23-3-2021 20:31 编辑

WB: In Primaries / Colour Wheels / Offset, to correct any White Balance issue or Colour Casting issue. To get the waveform as white as possible.

HDR: High Dynamic Range, to bring up Exp in the Shadow, or bring down Exp in the Light.

PRIMARIES: In Primaries / Colour Wheels / Lift, Gamma and Gain, Lift for Black, waveform reaching the bottom line (64). Gain for Highlights, waveform reaching the top line(940).

CURVES: S curving the image, check the Skin Tone Indicator.

作者: gzhjb 时间: 23-3-2021 22:06
REAL ESTATE

WEDDINGS

EVENTS

MUSIC VIDEOS

ACTION SPORTS

CORPORATE / BUSINESSES

TRAVEL / TOURISM

STOCK FOOTAGE

DOCUMENTARY

INDEPENDENT FILMS

作者: gzhjb 时间: 24-4-2021 22:39
本帖最后由 gzhjb 于 23-6-2021 20:50 编辑

MY OWN KEYBOARD SHORTCUT LIST:

J, K, L

J: Fast Reverse
K: Play
L: Fast Forward

<-, ->

<-: Reverse Frame by Frame
->: Forward Frame by Frame

I, O

I: In Point
O: Out Point

, .

,: Place Clip on Nearest Cut
.: Place Clip at End of Timeline

Q, W

Q: Ripple Delete Beginning of Clip (Delete from Beginning to the Playhead of the Clip and Remove the gap)
W: Ripple Delete End of Clip (Delete from the Playhead to the End of the Clip and Remove the gap)

C

C: Razor, Cut at the Playhead

Shift + Middle Wheel of Mouse

Increase / Decrease Height of the Clip

Ctrl + Middle Wheel of Mouse

Pan Left / Right of the Clip

Alt + Middle Wheel of Mouse

Zoom In / Out the Clip

Alt + Left Button of Mouse and Drag

Copy and Paste the Clip

Ctrl + R

Retime Control (Slow Motion Control) or Right Click then Choose Change Clip Speed, Input percentage (24/60=0.4=40%)
Remember to use Retime Curve to smooth in and out, Tick Retime Speed, Untick Retime Frame.

Fullscreen Playback

Ctrl + F: Fullscreen Playback or Cinema Viewer mode

Reset Colour Grades

Ctrl + Shift + Home: Reset Grades and Keep Nodes

Ctrl + Home: Reset All Grades and Nodes

Enable / Disable a Clip

X: Customized with X

作者: gzhjb 时间: 24-4-2021 23:53
How to NORMALIZE your AUDIO in DAVINCI RESOLVE

[youtube]4cR9pH7Kmp0[/youtube]

作者: gzhjb 时间: 29-4-2021 21:11
本帖最后由 gzhjb 于 1-5-2021 19:53 编辑

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

作者: gzhjb 时间: 29-4-2021 22:17
How to adjust contrast

[youtube]quGIGbbEBtI[/youtube]

作者: gzhjb 时间: 29-4-2021 22:47
Teal and Orange Secret in Seconds (No LUTs)

[youtube]Nv-8hFNstWs[/youtube]

作者: gzhjb 时间: 30-4-2021 19:44
List of Nodes

WB

Contrast

Colour Balance

Teal Orange Look

Shadows Colour Adjustment

Sharpness

作者: gzhjb 时间: 5-5-2021 06:47
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

作者: JasonCooper 时间: 11-5-2021 12:53
你觉得达芬奇比PR好在哪儿

作者: gzhjb 时间: 12-5-2021 07:03

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。

...

作者: gzhjb 时间: 25-8-2021 00:21
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.

作者: gzhjb 时间: 2-1-2022 19:15
Basic Look Book

Warm Look
High Contrast
Low Contrast
Cool Look

作者: gzhjb 时间: 5-5-2022 21:02
本帖最后由 gzhjb 于 5-5-2022 20:19 编辑

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。

作者: gzhjb 时间: 8-5-2022 19:33
本帖最后由 gzhjb 于 8-5-2022 18:46 编辑

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：

[youtube]KtQsF-tZiYQ[/youtube]

作者: gzhjb 时间: 11-7-2022 22:19
本帖最后由 gzhjb 于 11-12-2022 22:52 编辑

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

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

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

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

作者: gzhjb 时间: 11-7-2022 22:43
Color Space & Transforms

作者: gzhjb 时间: 13-7-2022 22:38
本帖最后由 gzhjb 于 13-7-2022 22:17 编辑

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

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

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

作者: gzhjb 时间: 14-7-2022 18:02
本帖最后由 gzhjb 于 18-7-2022 21:32 编辑

Monitor Calibration & Printer Test Image

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

作者: gzhjb 时间: 15-7-2022 20:31
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.

作者: gzhjb 时间: 15-7-2022 21:34
本帖最后由 gzhjb 于 11-8-2022 10:35 编辑

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

作者: gzhjb 时间: 15-7-2022 22:05
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.

作者: gzhjb 时间: 15-7-2022 23:16
本帖最后由 gzhjb 于 15-7-2022 22:20 编辑

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

作者: gzhjb 时间: 17-7-2022 12:48
Follow The Process

Color Correction
Shot Matching
Color Grading

作者: gzhjb 时间: 21-7-2022 16:35
本帖最后由 gzhjb 于 23-9-2022 20:56 编辑

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

作者: gzhjb 时间: 22-7-2022 23:58
Colour Management for Video Editors

文章用点长，但绝对干货满满。

作者: gzhjb 时间: 23-7-2022 00:02
本帖最后由 gzhjb 于 22-7-2022 23:05 编辑

No Film School

作者: gzhjb 时间: 23-7-2022 00:08
NEWS SHOOTER

作者: gzhjb 时间: 23-7-2022 00:10
BH PHOTO VIDEO

作者: gzhjb 时间: 23-7-2022 13:16
本帖最后由 gzhjb 于 24-7-2022 18:10 编辑

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

作者: gzhjb 时间: 22-8-2022 20:41
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!

作者: gzhjb 时间: 26-8-2022 22:27
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.

作者: gzhjb 时间: 30-8-2022 00:41
本帖最后由 gzhjb 于 29-8-2022 23:56 编辑

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.

作者: gzhjb 时间: 3-9-2022 21:23
本帖最后由 gzhjb 于 3-9-2022 22:05 编辑

HSV

Use a splitter/combiner node to get even more granular control and sandwich the HSV into two CSTs. This is the one going from DWG to HSV.

And then back out from HSV to DWG. Made sure the net result was nothing, meaning the conversion itself didn't change the image.

On the Hue node (first node in Splitter Combiner), play with LGG to slightly pivot the hues.

On the Sat node (second node in Splitter Combiner) push more Sat with Gain wheel.

Note:

Add Splitter node and Combiner node by right-click at blank area, Add Node, then Splitter or Combiner.

Add three Correctors by right-click at blank area, Add Node, then Corrector.

Turn off Channel 2 and Channel 3 on Corrector Node 1 by right-click on Corrector Node 1 (Hue), then Channels, then uncheck channels accordingly.

Turn off Channel 1 and Channel 3 on Corrector Node 2 by right-click on Corrector Node 2 (Saturation), then Channels, then uncheck channels accordingly.

Turn off Channel 1 and Channel 2 on Corrector Node 3 by right-click on Corrector Node 3 (Value), then Channels, then uncheck channels accordingly.

Hue: Which colour?

Saturation: How pure?

Value: How bright? (Value is not exactly equal to brightness. It is only an approximation.)

In RGB (HSL) colour space, brightness and colour information is entangled in RGB. If we want to control them separately, first we have to disentangle them. That's not possible in RGB. Changing color space is a solution. HSV is one of the color spaces we can try.

Hue: The traditional color name of a specific wavelength of light is a hue. Another description is spectral color. All of the colors of the spectrum are hues.

Saturation: Saturation is concerned with the intensity, or the brightness and dullness of color. A saturated color is high in intensity - it is bright. A color that is dull is unsaturated or low in intensity. Another term for saturation is chroma. A color without any brightness (no hue) is achromatic, (black, white or grey).

Value: Value is concerned with the light and dark properties of color. All colors exhibit these properties. The hues have a natural value where they look the purest. Some colors, like yellow, are naturally light. Some, like violet, are darker. All hues can be made in all values. Adding white paint will make any pigment lighter. Adding black paint will make most pigments darker, but will cause yellow paint to shift in hue to green.

In HSV color space:

- Hue slider: Hue starts with Red and ends with Red. (0 degree to 360 degrees, 0-179 to represent it with 8 bit.)
- Saturation slider: Saturation starts from 0 to 100. (Full white or grey to full saturation, 0-255)
- Value slider: Value starts from 0 to 255. (Full black to full brightness. 0-255)

Each of them changes without affecting the others.

HSV gives you flexibility to control image attributes separately.

作者: gzhjb 时间: 3-9-2022 23:28
本帖最后由 gzhjb 于 3-9-2022 22:29 编辑

The three elements of color: HUE, SATURATION, VALUE.

HUE: The name of the colour, such as: Red, Blue, Green, Yellow, Orange. Pure red is a very popular hue in Web design. Using a lot of pure hues together can add a fun and playful look to a design.

SATURATION: Intensity or purity of a Hue. In its definition, saturation is the purity of a color. In color theory, saturation defines a range from pure color (100%) to grey (0%). The slightly paler saturation of the colors can create a more calming feel than pure hues would.

VALUE: Intensity or purity of a Hue. There are two words connected with VALUE: Tint and Shade, or three words: Tint, Tone and Shade.

TINT: A hue produced by adding White. Tint = Hue + White. Pink is a tint of red, and the two different versions of it work beautifully together.

SHADE: A hue produced by adding Black. Shade = Hue + Black. Navy blue and dark red are commonly used shades in political designs. Shades of blue and yellow combine to create a nautical-themed design.

TONE: A hue produced by adding Grey. Tone = Hue + Grey. Adding grey to a color will make the intensity much duller, or desaturated. Purple takes on a twilight quality when grey is added.

TEMPERATURE: Color temperature is a measure of a light's color. Color temperature is a way of indicating how warm or cool light is.

Warm White: 2800K.

Natural White: 4000K.

Cool White: 6000K.

作者: gzhjb 时间: 4-9-2022 22:12
Typically, the deciding factor is based on the general ambiance of the room. A darker room requires a higher power (the reason why cinema projections in a completely dark room use gamma 2.6). A good rule is to use a value around 2.0 for daylight uncontrolled lighting, 2.2 for dim lighting, 2.35-2.4 for a dark controlled room, and 2.5-2.6 for pitch black.

作者: gzhjb 时间: 4-9-2022 22:45
本帖最后由 gzhjb 于 4-9-2022 21:55 编辑

Different methods for Subtractive Saturation in DaVinci Resolve:

Note: You can skip the parts where I write Increase Sat, and only play with luminance.

On node level, set the color space to HSL. This changes the RGB Mixer from Red Output, Green Output, Blue Output to Hue Output, Saturation Output, Luminance Output. This also changes the individual channels(bars) in each section to Hue, Saturation, and Luminance. Now, in order to reduce "Luminance in the Saturation" you must go to Luminance Output (Blue Output in RGB Mixer), then find the Saturation bar (Green bar) and decrease it (this decreases its luminance since it exists in Luminance Output). Go to the Saturation Output (Green Output) and pull the Saturation bar (Green bar) up to add more saturation.

Color Warper

In a parallel node:

The Luminance needs to go down and the Saturation needs to go up. Go to Chroma & Luma grid in the Color Warper palette. Grab all points in the left grid. Get them down (use Alt+Shift so you don’t accidentally change the hue). You can also lock a Luma row so it is not affected. Click on a point on the image, and the corresponding point on the grid is highlighted. Select Lock Row. Go back to the main Color Warper section. Do the same for Color Warper Grid, select all points, increase the saturation.

3. You can always add this step to complement the methods above: In Custom Curves, Hue vs Sat, increase sat (the entire horizontal line or a specific color. In Hue vs Luma, do the opposite and bring the Luma down.

4. HSL + HSV technique. Mute channel 1 & 2 in each node (right click, channel, select and disable). Gain down by half in HSL node, Up by double the amount in HSV node. (You can now use method 1,2 or 3 to complement method 4).

5. L*a*b Technique: Set the node's Color Space/Color Model to l*a*b

- Increase saturation

-In the Qualifier palette, toggle off the Luminance and the Hue.

Key Saturation except the left-most side (soft key), Blur Radius 36 or less. LAB works best in Display Space so put it after the main LUT/ODT/CST.

In Custom Curves, unchain the curves. Select the Red Curve (it's your Luminance), decrease it (l*a*b* is a bit tricky and I haven't practiced with it enough)

Increasing Saturation doesn't affect the Luminance.

For more adventures in L*A*B read:

Photoshop LAB Color: The Canyon Conundrum and Other Adventures in the Most Powerful Color Space by Dan Margulis

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

You can transform to HSV and then playing by only affecting the green channel (which is now saturation). Gain will increase/decrease saturation in a mathematically correct way, playing with the gamma can result in a vibrancy-style adjustment. Playing with the curves can also yield some interesting results.

作者: gzhjb 时间: 4-9-2022 22:48
本帖最后由 gzhjb 于 4-9-2022 21:50 编辑

How To Make More Saturated Colors Darker | DaVinci Resolve Tutorial

HSL + HSV

[youtube]6brYbOjhUcU[/youtube]

作者: gzhjb 时间: 5-9-2022 21:25
BenQ monitor series

PV = Video Post-production
SW = Photography
PD = Graphic Design

作者: gzhjb 时间: 8-9-2022 11:30
4 COLOR GRADING HACKS

1. HAVE A GAMEPLAN
2. STARTING BROAD
3. BALANCE BEFORE LOOK
4. CLEAN SHADOWS

作者: gzhjb 时间: 8-9-2022 14:25
HSV is a cylindrical color model that remaps the RGB primary colors into dimensions that are easier for humans to understand. Like the Munsel Color System, these dimensions are hue, saturation, and value.

- Hue specifies the angle of the color on the RGB color circle. A 0° hue results in red, 120° results in green, and 240° results in blue, 360° results back in red.

- Saturation controls the amount of color used. A color with 100% saturation will be the purest color possible, while 0% saturation yields grayscale.

- Value controls the brightness of the color. A color with 0% brightness is pure black while a color with 100% brightness has no black mixed into the color. Because this dimension is often referred to as brightness, the HSV color model is sometimes called HSB, including in P5.js.

It is important to note that the three dimensions of the HSV color model are interdependent. If the value dimension of a color is set to 0%, the amount of hue and saturation does not matter as the color will be black. Likewise, if the saturation of a color is set to 0%, the hue does not matter as there is no color used. Because the hue dimension is circular, the HSV color model is best depicted as a cylinder. This is illustrated in the interactive example below, where all possible color mixes are represented within the bounds of the cylinder.

作者: gzhjb 时间: 19-9-2022 16:56
How to remove a section of audio (bad audio)

[youtube]QZOrcgkWvio[/youtube]

作者: gzhjb 时间: 15-10-2022 09:00
Monitor for Colour Grading

Summary — For Web, Edit in Rec. 709 and Test Across sRGB and DCI-P3 Using a Wide Gamut Monitor
Again, you can only control what’s in your editing environment. That means you need to maintain color management of the standard you are using, why you are using it, and ensuring your monitor is calibrated for that color space.

For web content, edit in Rec. 709 (which is the default timeline in Adobe Premiere Pro), color correct in Rec. 709, and review on a Rec. 709 monitor. When your project is done, adjust your monitors calibration to DCI-P3 and sRGB to review the potential impact to your edit. I also recommend continuing to check your video across common devices like an iPhone or iPad.

Monitor Color Calibration on a Budget
Check out my follow-up to this article that covers how to calibrate your monitor cheaply: Here

A Note on Calibration…Do it
No matter what display you buy, you need to calibrate it with a calibration tool like the X-Rite ColorMunki (Click Here). Factory calibration is not accurate enough and it does not account for ambient light in your workspace. A calibration tool also helps you recalibrate your display between different colorspaces.

Display Recommendations
These recommendations are based on my own personal budget and research to stay below $1,000. New products are constantly coming out, but these are just a few options. I ended up decreasing my budget so the one I purchased is what I felt to be the most affordable with a decently wide color gamut.

Visual Captive is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon.com

Low Cost:

What I Bought — $350 Samsung U28UR55 (4k — 90% DCI-P3 Coverage & 99% sRGB) which is only available at Best Buy and Micro Center.
A similar option is the $375 — 27" Dell U2719D with 100% sRGB and 80% DCI-P3 coverage: Here
LG 32UN650-W 32 Inch with 100% sRGB and 95% DCI-P3 at ~$496: Here

Mid-High Cost:

Dell Ultrasharp 27" 4k (100% AdobeRGB, 100% sRGB, 100% Rec. 709, 97.7% DCI-P3 and 76.9% Rec. 2020) : Click Here
Viewsonic VP2785 (4k 99% Adobe RGB ,96% DCI-P3, 100% Rec. 709): Click Here
BenQ SW270C: Here

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