To view this page ensure that Adobe Flash Player version 11.1.0 or greater is installed.
Image 4 One of my favourite things about Resolve is the node based correction structure. Node based compositing was once only accessible in VFX software and it’s great to have that level of fl exibility in grading software. Having the ability to carry out parallel corrections and blend corrections with another correction really opens up a lot of options. With all the Photoshop blending modes available in each node the possibilities are endless. I fi nd this much more powerful than layer based alternatives [Image 5]. Paint and Repair Image 5 required to enhance or subdue certain colours and shape the image and colour once more. This is where Resolve 10 really stands apart from colour correcting plugins and correctors found in editing packages, with advanced qualifi cation, windowing and tracking tools. Powerful Power Windows The toolset has expanded once more in version 10 and includes tools that let you do more secondary grading work, in less time, including unlimited windows within a node, Bezier windows, gradient windows, window shape presets and improved keyframe copy and paste. DaVinci has become a very refi ned colour corrector and I don’t believe any plugins or NLE based colour correctors come close to the new Resolve in terms of fl exibility, creative options and real-time performance. Resolve’s new Bezier�curve power windows [Image 4] let you precisely shape any secondary correction in seconds, and the ever�reliable tracker will keep it locked on the subject. Better yet, we now have unlimited windows within the same node, so if you need to window and track three obscure shapes and apply the same corrector to all of them, you can now do that in a single node without using a key mixer node. This can save you a lot of time! Another plus is the ability to apply Pan, Tilt, Zoom and Rotate (PTZR) changes to nodes. This opens up a world of possibilities when it comes to VFX, allowing you to do basic compositing and paint, saving the amount of work done by the VFX team and letting you do more in the grade. Not only will this will save your clients time and money, but it will also make you, the colourist, more valuable. The introduction OpenFX plugin support is another new feature of Resolve 10, with plugins for adding various effects such as fl ares, texture (grain) and temporal effects. Gen Arts’ Sapphire for Resolve 10 alone has over 250 effects. Coupled with the ability to treat these effects like any other node i.e. using windows and blending, this really opens up possibilities that were once only available in dedicated hardware VFX systems. On Set Grading As more and more productions are shooting RAW material, it is becoming increasingly more important to set looks on the material for the offl ine. On-set grading has taken off in the last couple years and although Resolve 9 was a fully featured DIT tool, Resolve 10 now also has Live Grade. This means that a video feed from the camera can be graded in real-time and displayed on a monitor on set. the grade simultaneously, a dream come true for some. These on-set looks can be saved and added to a gallery for late use in dailies creation and also as a starting point in the fi nal DI. Resolve’s DIT features are phenomenal, however features would mean nothing without performance and version 10 packs a punch. It performs the quickest transcoding I’ve ever seen, regardless of whether it’s Red, Alexa, Sony or Canon RAW footage. I’ve seen Resolve systems hit 100FPS transcoding Alexa ProRes4444 fi les to graded ProRes422 QuickTime fi les. Noise Reduction It also features new noise reduction features, with temporal (up to 4 frames blended) noise reduction being added to the existing spatial (single frame) noise reduction toolset that was available in version 9. This temporal noise reduction can protect detail while reducing the noise and doesn’t introduce softening like spatial noise reduction can. As with any other node the noise reduction can also be applied to colour and luma channels independently. This is a big addition as it allows us to refi ne the noise reduction to keep maximum sharpness in our image. Further more, it we can also use it with qualifi ers and windows, so you have maximum control. The Render When it comes to output, Resolve 10 has you covered and outputs to every standard format available. Multiple formats and resolutions can be added to the render queue and you can batch render all of your deliverables at the end of the day. There is now no reason not to fi nish out of Resolve. With the EasyDCP plugin [Image 6] you can even render out a Digital Cinema Package from Resolve 10. This is incredibly liberating for the DoP and director, letting them see their intended vision come together on screen, eliminating the constant interplay between DIT, post and set. This real-time feedback let’s DoPs and directors work with both lighting and Image 6 TV-BAY MAGAZINE: ISSUE 85 JANUARY 2014 | 69