DaVinci Resolve 12 features a new, modern interface with a lighter overall color scheme and new fonts that help reduce eye strain and make it easier to work for long sessions. The new interface is scalable and has been designed to look great on high DPI monitors, such as retina displays. New top down navigation speeds up layout selections and also gives users more flexibility to customize their workspace.

The new multi-camera editing feature of DaVinci Resolve 12 lets editors cut programs from multiple sources in real time. DaVinci Resolve 12 can synchronize camera angles based on timecode, audio waveforms, or in/out points. The source monitor displays a grid containing the camera angles and plays them all back in sync while the editor makes cuts to the audio and/or video.

In addition to multi-camera editing, DaVinci Resolve 12 also features several enhancements to the core editing tools. All trim modes, multi-slip, slide, ripple and roll have been extended and editors can now select multiple points for dynamic trimming and asymmetric trimming of clips, even if they’re on the same track. Timelines can be nested, edited together and expanded or collapsed in place to greatly simplify editing of large multi scene projects. New transition curves let editors create and edit custom curves for transition parameters and new on-screen controls let editors see and adjust motion paths directly in the timeline viewer.

DaVinci Resolve 12 includes an entirely new, high performance audio engine that offers higher sampling rates and greatly improved realtime audio playback performance, including reverse playback and tape style slow motion scrubbing during dynamic JKL trimming. Both VST and AU audio plug-ins, along with their custom interfaces, are now supported and can be used on individual clips or entire tracks. Audio parameter adjustments can be recorded and now contain editable automation and full curve editor support. For the first time, editors will be able to export projects directly to ProTools via AAF for audio finishing.

Media Management in DaVinci Resolve 12 has been redesigned to accommodate editorial workflows. Customers can now manage projects and media using new copy, move, transcode, relink and consolidate tools. Whole projects, including media can be archived and restored with ease. Resolve 12 makes it easier to find media in large projects by letting users create smart bins that can display footage based on metadata tags. Users can now import media by simply dragging it in from the Finder or Windows Explorer, or by using new “Favorites” for one click access to commonly used media folders on disk.

DaVinci Resolve colorists will find incredible new tools that give them even more creative grading options than ever before. Resolve 12 improves upon DaVinci’s legendary advanced color science by adding support for DaVinci’s own color managed timelines as well as ACES 1.0 transforms, making it easier to get consistent results, especially when working in facilities with managed pipelines.

The core grading and color correction tools have also been improved with a new, easier to use curves interface, automatic color analysis and matching between two or more clips, an incredibly accurate 3D perspective tracker, and a new 3D keyer with improved matte finesse options. Colorists can now define their own smart filters, convert any window to a bezier, collapse multiple nodes into compound nodes to simplify their view, ripple grades across multiple clips, and flatten pre and post-group grades into a clip’s individual grade.

DaVinci Resolve 12 also now supports remote rendering so customers working in larger facilities can distribute rendering jobs to other Resolve systems that are on the same shared database and shared storage.

With dramatically improved editing, DaVinci Resolve 12 now has the ability to integrate with other NLEs even better. Edit timelines can “round trip” to other editing software and more of settings, plug-ins and edits are preserved. For example when importing XMLs from Final Cut Pro X, DaVinci Resolve 12 can now import multi-cam clips and preserve all the original camera angles. Also, audio support is greatly improved to match the audio timeline in Final Cut Pro X. This makes collaborative workflows better and allows different people in a facility to use the tools they prefer instead of being forced into an inflexible company wide platform.

“DaVinci Resolve 12 is an incredible release that we think both editors and colorists are going to love,” said Grant Petty, CEO, Blackmagic Design. “We’ve built in the features customers have been asking for and, with the addition of multi-cam and some of the other great new editing features, we think that Resolve is perfect for both creative editing and finishing. It’s still the only system that lets customers switch from editing to grading with the click of a button, giving them the fastest, highest quality no compromise workflow. Best of all, customers can install DaVinci Resolve Lite and use it on real projects for free. There is no monthly subscription, you don’t need to be connected to the cloud, and you don’t need to buy any proprietary hardware!”

Our review.

Please see our https://website aic2022.org for more information.

Call for papers deadline: January 7, 2022

Submission Guidelines & Instructions

Call for workshops deadline: February 15, 2022

Please see our equity & diversity statement here.

We have a diverse array of exciting invited speakers, and look forward to your contribution! Please forward this Call to any other colleagues who may be interested.

Any questions about AIC2022 Sensing Colour can be sent to sensingcolouraic2022@gmail.com

With kind regards,

The Colour Research Society of Canada

Watch the Logarist introduction and demo/tutorial video on YouTube:

Logarist supports these camera color spaces:

Cinema Grade Basic

• Exposure, including Shadows, Midtones, Highlights
• Contrast and Pivot
• Color Temperature and Color Tint
• Saturation, including Shadows, Midtones, Highlights
• Secondaries: Hue, Luma and Saturation Adjustments
• Over 60 Looks and a LUT Previewer
• Waveform, Vectorscope and Histogram
• Traditional tools in the Inspector

Cinema Grade Professional

• Everything that comes with Basic
• Step-by-Step Guided Approach
• Shot Matching with Groups (to save time when color grading)
• Academy Color Science and Xrite Chart Support

Cinema Grade Filmmakers

• Everything that comes with Basic and Professional
• Color Grading Academy (online classes)
• RAW footage to grade
• Film Add-on’s: 22 different 35 mm film stock looks (Kodak, Fuji, etc.), film grain and 30 ASCEND colorist presets.
• Look Hacking System: Helps you mimic the look of a certain film or TV show

http://cinemagrade.com/

I really like the concept of this plugin / standalone and how easy to use it seems. As far as I know exist integration with photoshop, lightroom and AE. Here's the AE version at work (русский)

3D LUT Creator is color correction software. It can transform colors in LAB color space and save corrections as 3DL file, that can be loaded to Photoshop CS6 or other image and video editing software.

3DLUT Creator is a standalone program, that can load images in TIFF, JPEG and other formats, and can save TIFF, JPEG, 3DL files. It requires a PC with Windows x32 or x64 installed. MacOS users are known to be able to run it with Wine and Crossover. 3DL files are platform-independent and can be used in variety of image and video editors, such as Adobe Photoshop, After Effects, DaVinci Resolve and others.

and some photoshop action and explanations (русский with subs)

3D LUT Creator is currently in a closed beta testing stage. If you want to try beta version with limited functions, contact me at 3dlutcreator at gmail . com You can preorder the full version for $50 and you will also be getting current fully-functional beta versions.

Funny enough I found this through VK ;-)
gashô

To access the old thread - go here: http://www.personal-view.com/talks/discussion/1817/colorghear-toolkit-color-grading-system-for-ae/p1

So as not to be misleading, ColorGHear is a system, and not so much a plug-in... a school of thought supported through the ColorGHear Toolkit -which is a set of MODULAR PRESETS for After Effects and ColorGHear Pro - which is a set of MODULAR LUTs for Davinci Resolve, FCP7, Premiere Pro, and Adobe Speedgrade, and is not what you'd consider a classical style plug-in.

The toolkit isn't a collection of drag and drop "looks" like Magic Bullet. It is a series of nodes which contain a set of grading instructions or "macros" (a set of operations), specially designed to work with each other to speed up your workflow. Along with these nodes, comes a system of grading which replaces having to perform the minutia of individual corrections by hand. Learned through the online tutorials, this system will give you speedy and precise grades. It is this precision that prevents you from "bending" your images like with standard methods which is what allows me to get such drastic and dramatic grades from normally flimsy DSLR codecs.

As a professional colorist, I noticed that because of the way the color channels in RGB video are tied together; that typical methods like the Color Balance tool, and the 3-way Color Corrector will actually bend an RGB image out of shape. So in order to maximize the full potential of any given image, I had to learn a method of grading that would avoid damaging the footage. I called this method "precision grading."

I also noticed that in executing these precision grades, I was performing the same operations over and over. I began taking notes on what these operations were, and trying to determine if it were possible to create a set of interacting preset nodes that would save me time in having to repeatedly perform these operations.

I soon discovered 37 distinct sets of operations that would serve to correctly grade any, and all footage. 6 of these macros cancel each other out, and only 1 of those 6 could be effectively used at any given time leaving me with 32 nodes - giving me 1,024 possible combinations. Over a thousand distinct grades. Over time, I added some other tools to the set which now sits at 74 nodes all of which are designed to be used in conjunction with the other nodes. (69, if you subtract the 5 canceling nodes) which brings the total to 4,761 distinct grades.

The precision method I mention above is demonstrated here. Along with how the 3-way Color Corrector damages your footage.

The power of ColorGHear is presented in the video demonstrations below.

ColorGHear is available at http://www.ColorGHear.com

(ColorGHear Pro not yet available to the public)

Since it's Friday I decided to make a color grading tutorial for you guys on how to create the cinematic golden look as you can find in the beautiful film A Very Long Engagement.

I'm doing this all inside of Adobe Premiere Pro since that's the most common software you guys asks me to do a tutorial on.

Hope you'll like it!

Supported Video Applications:

• Premiere Pro
• Premiere Elements
• DaVinci Resolve
• Vegas Pro
• Final Cut Pro X

Supported Camera Color Spaces:

• BT.709 (standard HD video)
• Arri Alexa Log C
• Canon EOS Neutral
• Canon Log 1–3
• Fujifilm F-Log
• GoPro Protune
• JVC J-Log1
• Panasonic GH2 Standard
• Panasonic GH4 Cinelike D
• Panasonic GH4 V-Log L
• Panasonic GH5 Cinelike D
• Panasonic VariCam V-Log
• Sony Cine1–2
• Sony HyperGamma 2, 4, 7, and 8
• Sony S-Log1–3

logarist.com

• ColorChecker like colors
• 24 colors
• 21.5cm x 14.7cm
• Package weight - 146g
• $19 only including shipping

Note - do not use ColorChecker references for this, but for matching shots across different takes, places or cameras it works perfect.

https://www.aliexpress.com/item/Professional-24-Color-Card-Test-Color-Balancing-Card-Palette-Board-for-Superior-Digital-Color-Correction-Photography/32838095942.html

Colourlab Ai analyzes the composition of the shot to describe the color characteristics of footage – whether it’s a close-up shot, an exterior shot, daylight or nighttime, etc. The AI ‘understands’ how humans see, and it uses human perceptual transforms that are vastly more accurate than standard algorithmic methods.

And, of course, AI is not cheap

Colourlab Ai will work as a subscription-based software for $99.00 per month. A yearly plan will also be available for around $1000.00.

http://www.colourlab.ai/

https://www.facebook.com/TVNorge/videos/3910255325666760/

Your opinion on the color grade?

https://www.youtube.com/playlist?list=PLFQ0HPsj_iwcKe8o2Z0g9T1j580HHnQxG

http://timeinpixels.com/nobe-color-remap/

Cinematic images are about drama and the most effective way to achieve striking shots is through awesome lighting. Shoot against the light wherever possible. Rembrandt lighting, which creates a triangle beneath one of the subject’s eyes, is one of my favorite techniques.

The majority of movies make use of shallow depth-of-field to isolate the subject from the background. Not only are blurry backgrounds aesthetically extremely pleasing, but along with lighting and composition, shallow depth-of-field is one of the most sure-fire methods of directing the viewer’s attention where it belongs. Anyone who says different doesn’t know what the fuck they’re talking about.

Movies are vibrant. That means not shying away from boosting saturation in post. In real life, skin tones may very well look pale and washed out, but at the cinema, they should glow and radiate warmth. Desaturated colors put the audience to sleep. People don’t go to the movies to see a drab reproduction of their shitty depressing lives outside the theater.

Movies are sharp. Granted, your local drive-in might be projecting an image at something less than 720p resolution but that is absolutely not what the director intended, anymore than god intended us to watch movies in our cars with a Slurpee, or worse yet, on an garbage 11″ MacBook Air. Get over it. Just the same, all hybrid cameras add junky artificial sharpening that kills anything resembling cinema. Dial that crap all the way down.

https://jonpais.wordpress.com/2018/10/27/the-film-look/

• Available now
• Price is $399 for bare
• With sleeve it is $429
• With case $495.
• Product page - http://xritephoto.com/ph_product_overview.aspx?id=2524&catid=109&action=overview

Seems like someone got infection from camera companies :-)

Panasonic has launched the free VariCam LUT Library to help filmmakers create a variety of looks with VariCam and EVA1 cinema cameras. The VariCam LUT Library contains 35 unique 3D LUTs (Look Up Tables), created by Panasonic in conjunction with Local 600 D.I.T.s. The VariCam LUT Library contains display conversion LUTs, as well as artistic look LUTs. In camera, on set, or in post, users can preview or capture various looks using a high-contrast black-and-white LUT, a warm golden hour LUT, a colorful high fashion LUT, a faded vintage LUT, or many others.

“The VariCams and the EVA1 can capture a huge range of exposure as well as color,” explained Mitch Gross, Panasonic Cinema Product Manager. “The VariCam LUT Library is a great communication tool. An enormous variety of looks are possible, and it’s far easier for a producer or director to understand and appreciate the look the cinematographer is trying to achieve by seeing it right on the screen. Having a LUT on set also allows the cinematographer to light and expose precisely to the look he or she is trying to capture. Finally, with the matching LUT available for post, the colorist knows what the cinematographer was working toward.”

The VariCam LUT Library comes in three formats: .VLT for loading into VariCam cameras; E-E.CUBE for post color grading; and E-L.CUBE for monitoring LUT box devices. Note that the EVA1 Compact Cinema Camera can record in a matching V-Log/V-Gamut format, so the VariCam LUT Library can also be applied to EVA1 footage in post color grading and on set LUT boxes.

When acquiring in native V-Log/V-Gamut, the VariCam and EVA1 lineup of cinema cameras capture more than 14 stops of Dynamic Range and a wide color spectrum. The VariCam LUT Library webpage features a preview tool to allow viewing of the LUTs on three sample images: a person, an urban indoor scene and an outdoor nature scene.

To explore the VariCam LUT Library and download the free LUT files, visit https://info.panasonic.com/varicam-LUT-library.html .

Datacolor®, a global leader in colour management solutions, has today launched an extensive colour management eBook for photographers and videographers. 'Spyder5 eBook: Color management can be easy' is a six-chapter guide providing practical advice to help any photographer or videographer understand colour management, from the basics to the advanced. Chapters will be published in three-week intervals and sent to readers once they have registered online. Those who download the eBook will also receive 20% off the Spyder5Pro and Spyder5Elite. The first chapter is now available for download from the Datacolor website here.

"We repeatedly found that even after more than 20 years of digital photography, colour management is regarded as a difficult and complex topic and is therefore often neglected. Users often have difficulties with achieving accurate colour reproduction and maintaining the brightness of their images in photo books or prints," says Stefan Zrenner, Global Director of Sales and Marketing Consumer Products at Datacolor. "With our free eBook, we want to make our colour management know-how accessible to everyone and show that this topic is not complicated at all."

The eBook explores the basics of colour management, calibrated photography, and the steps needed to reproduce accurate colours on the monitor, when printing at home and through print service providers.

What to expect from 'Spyder5 eBook: Color management can be easy'

Chapter One -- Understanding Digital Color

The first chapter will walk you through which colour measuring instruments you need for colour management, and why you should work with RAW data.

Chapter Two -- Taking Calibrated Photos

Chapter Two is a guide to the first step in the colour workflow -- camera calibration. The chapter focuses on the tools available for calibration, obtaining evenly-balanced contrast with the SpyderCUBE, achieving colour balance with the SpyderCHECKR, and razor-sharp autofocus using SpyderLENSCAL.

Chapter Three -- Monitor Calibration

Discover how to initially calibrate your monitor and find out what a colorimeter can do for you during this process. Chapter three will also teach you how to control ambient light and demonstrate the options a soft proofing tool can offer.

Chapter Four -- Fine-adjusting Monitors

Chapter Four delves deeper into monitor calibration, with a focus on making extended calibration settings, and an explanation of what an advanced analysis entails. Learn how to calibrate two monitors, and find out what different elements you need to pay attention to when calibrating a complete studio and a projector.

Chapter Five -- Printer Profiling for Accurate Prints

The penultimate chapter teaches you all you need to know about printer profiles, and explains how to check if your printer and printer driver are working properly. Find out what you need to be aware of when working with a Spectrocolorimeter and discover Datacolor's measuring technology.

Chapter Six -- Monitor Proofing and Media

The final chapter deals with your questions on the final stage of your workflow -- exploring how to proof your images on your monitor, and what to consider when printing your photos by yourself, on paper, canvas, and foil. The chapter will also tell you all you need to know about monitor proofing during photo printing from a service provider.

Each chapter also contains a detailed glossary of colour management terms.

The first chapter of the eBook is now available for download from the Datacolor website here.

The HCL– color model is not as common or as widespread as for example the HSV model, but much more suitable for photo editing. It offers several advantages since shadows and highlights possess almost no chroma in this color model. 100% black and 100% white generally have no saturation even if other models allow for this. Even similar colors in various positions as they occur in the upper and lower part of a color cylinder are excluded in the HCL-model.

https://www.picture-instruments.com/products/index.php?lang=en&id=10&cid=

https://hardforum.com/threads/displayport-1-2-hdmi-2-0-2-0a-to-get-4k-60hz-10bit-hdr.1896499/

Mentions that 4k 4:4:4 30hz is the limit of HDMI 2.0

Could anyone using 10bit displays with a Mac please chime in?

I use fcp7, resolve, hit film and cs6(ae and ppro).

If I use desktop mode and just output 10bit to the TV, will all these apps work in 10bit?

I am using 2010 cMP upgraded to dual 6core xeons and gtx1060 6gb.

He has rigorously compared film and digital acquisition. The results have allowed him to choose the aesthetic properties of digital output and in doing so he dispels common assumptions regarding the superiority of one format over another, that leads to misplaced faith in brand allegiance and marketing in the camera industry.

Here are two videos where he compares formats and then goes into the details of his processing pipeline , before any traditional 'colour grading' is done: http://yedlin.net/ResDemo/#

Here is an accompanying article: http://yedlin.net/OnColorScience/

And further articles and videos found: http://yedlin.net/ http://yedlin.net/BoringFilmTechStuff_Index.html