There’s always more than one way to do things, and you will no doubt find your own workflow but here is a step by step breakdown that will get you headed in the right direction. However it’s up to you to structure your project and process in such a way to take full advantage. The above goals can only be achieved through a high level of control, and Resolve’s tools are intended to give a very high level of control to the colorist.
Correction of any technical inconsistencies in camera source media, or mistakes made on set.The overall goals a colorist has for any project are largely universal.
Lists are always a good place to start when creating order and structure to simplify a complex task. The good news is by applying some structure, order and strategy to your color grading process, achieving the results you want becomes much easier. If you lose track of what corrections you have made, and how they relate to your source image and overall intentions for the look you want to create, you won’t have any hope of recreating a grade for a different source, or matching shots in a sequence. While you could just jump into a random shot and start making adjustments, it’s a sure way to get lost, and getting lost is not a good thing if you want to achieve consistent professional results. Now we will look at the color correction and grading process itself.
In my previous post in this series Get Started in DaVinci Resolve Part 1 – What is Workflow? we took a look at overall bigger picture workflow in the context of defining a post-production process or pipeline. The color grading process is logical and simple when you take it one step at a time. DaVinci Resolve can seem a deep pool to jump into.
0 kommentar(er)
