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REVIEW DaVinci Resolve 10 by Toby Tomkins of TJTFilm C olour grading for me is about the final sculpting of the image, in terms of colour, tone, texture and composition. My goal as a colourist is to push the colour, tone and texture to reflect the desired emotion and story of the image. I choose DaVinci Resolve to be my metaphorical chisel because it has a toolset that lets me concentrate on the creative side of the craft rather than the technical. So what’s new in Resolve 10? keyframes, title support, speed ramps and audio now saves you time in the conform rebuilding the edit. Checking the conform is also as easy as ever, with the ability to add an offl ine reference to our timeline and crop it for review on a reference monitor [Image 1]. Primary and Secondary Colour Correction One of the biggest updates to DaVinci Resolve 10 is the expansion of its online editing toolset. The expanded range of XML support for effects from offl ine editors, such as support for In a similar fashion to editors being concerned with continuity, colourists need to be aware of the image continuity. Matching shots forms important groundwork for creating a fl uid transition of colour and emotion throughout our shots. Resolve 10’s gallery and reference features are Image 1 Image 2 68 | TV-BAY MAGAZINE: ISSUE 85 JANUARY 2014 incredibly useful for this, letting us reference other shots from the timeline, offl ine reference or even imported stills [Image 2]. These references can be placed side-by- side, wiped and even mixed with the shot you’re currently working on [Image 3]. After matching has been done, usually with primary corrections such as global lift, gamma, gain, offset and channel mixing adjustments to balance the shadows and highlights, it’s time to start building a ‘look’. I believe a good global primary correction is key here, and Resolve let’s you do this quickly and easily with its wide range of primary correctors. A control surface really helps here, letting you adjust multiple controls at the same time, such as gamma and gain, all with fi ne detail. Resolve’s internal YRGB colour space also lets you separate adjustments between luminance and colour, which is great for creating strong commercial looks. After the base look has been achieved with primary correctors, it’s time to add any secondaries Image 3