davinci resolve 12 Archive

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Animating Grades with Keyframes in DaVinci Resolve 12

Animating grades in Resolve 12 is another powerful feature that can help you to complete the look and improve the visual aesthetics not only of your static shots but also of those where more complex camera movement is involved such as dolly shots, panning shots, tilt shots,

More Tips & Tricks On Matching Shots In DaVinci Resolve 12

Even though we’ve covered different workflows on matching two (or more) shots while colour grading multiple times, this particular topic still generates a lot of buzz among independent filmmakers and enthusiasts alike. Of course, there are various approaches regarding the process and it’s hard to give a

A Quick Black Sunspot Fix in DaVinci Resolve 12

The dreadful black sunspot artifacts produced by the Blackmagic Cinema Cameras can be a very frustrating issue when shooting in harsh bright sunlight conditions. Typically, the problem appears when you point your camera directly towards the sun. Further, you can get the same effect in car headlights at

Here’s What a Commercial Breakdown by a Colourist Looks Like

The colourist is usually in a very privileged position of seeing the raw edited material and then applying his or hers very specialist skills to tailor the footage to the will of the director and the requirements of the commissioning agency, while still serving the cinematographer and how they

Blackmagic DaVinci Resolve Update 12.3 Released

Blackmagic DaVinci Resolve Update 12.3.1 has been released. The latest update improves the performance of H.264, H.265, OpenEXR, Varicam, MPEG4 and AVC on both Mac and Windows. It also adds new options for smaller font sizes on burn-ins, ARRI RAW sharpness, RED SDK v6.1 and more. For

How to Use Animated Mattes to Stylize Your Edit in DaVinci Resolve 12

Working with style mattes and matte transitions inside DaVinci Resolve 12 might seem a little bit daunting the first time when you need to deal with those, however, the workflow isn’t that different in comparison to other NLEs. Kevin P. McAuliffe from RampantMedia shows us how to use such graphic elements to stylize

Running DaVinci Resolve 12 on a Mid-2013 MacBook Air

Just like any other piece of software Blackmagic Design‘s DaVinci Resolve 12 also comes with particular minimum system requirements that need to be covered to run the software as seamlessly and flawlessly as possible. Yet, there are certain occasions when you can optimise the performance of the platform so that you’ll be able

Tracking Tricky Objects In DaVinci Resolve 12

Besides the plethora of extremely powerful features Blackmagic Design has already implemented in its leading colour grading and editing suite DaVinci Resolve 12, the app comes with another great tool worth mentioning – its Motion Tracker. Some people even compare it with the dedicated Motion Tracker in Mocha and the

How to Speed Up Your Workflow in DaVinci Resolve 12

Finding innovative new ways to simplify your workflow while editing and colour grading is always a welcomed approach. This way you will be able to deliver not only the same quality but you will also reduce significantly the time and effort to complete a certain editing or colour grading task. One

Adjusting Skin Tones in DaVinci Resolve 12

Many videographers still believe that getting the right balance between skin tones and the rest of the image in post is a serious challenge and something that should be predominantly achieved in-camera for best results. Although this might be a reasonable point, it’s safe to say that you can

Working with the Sony FS7’s RAW DNGs in DaVinci Resolve 12

Just two days ago we’ve covered how to match the Sony FS7’s EVF appearance with the Odyssey 7Q+ monitor/recorder and today we’ll delve into working with the FS7 and the Odyssey7Q+ even further by introducing another excellent tutorial provided by Convergent Design. This time, we’ll walk you through the process

Desqueezing Anamorphic Footage In DaVinci Resolve 12

With the ability to utilize the Anamor­phic (4:3)Mode when filming with the Panasonic GH4 and the introduction of some reasonably priced anamorphic lenses and adaptors, shooting in anamorphic or Scope becomes more and more affordable to independent filmmakers. To get this extremely enticing look, however, you should use some true 2x