This will save tons of time for colorists and instead of having to balance out all the different colorspaces, most of that work will have already been done.įor double the insights and a lot more questions and answers, Orlando Post Pros shares an hour long demo with Oliver Peters and Jason Druss from Blackmagic Design. I’m thinking of it as a non-destructive LUT. So, for example, if you have LogC, Rec709, and other starting points from difference cameras, you can place them all in the same world. Depending on your source footage you can put all formats into the same colorspace. Basically you can choose an input, timeline, or output colorspace.
This was kind of a weird feature to demo since it doesn’t really show the power of this new color science implemented by the BMD team, but for some this will be a serious game changer. It’s great to hear from a working colorist on the features that will be most useful day-to-day in the grading suite. In this first video you can check out a 30 minute presentation from Paul Saccone demonstrating the improved editorial features in Resolve 12 at recent LACPUG meet up.Ĭolorist Rob Bessette has a nice write up of his top 5 favourite features in Resolve 12, which includes images from his NAB tweets that I gathered together in this previous post. DaVinci Resolve 12 is almost here (shipping in July) and the demonstrations from Blackmagic Design are coming thick and fast.
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