Blackmagic Design: Blackmagic Design Announces DaVinci Resolve 15

https://www.blackmagicdesign.com/media/release/20180409-01

“Blackmagic Design today announced DaVinci Resolve 15, a massive update that fully integrates visual effects and motion graphics, making it the world’s first solution to combine professional offline and online editing, color correction, audio post production, multi user collaboration and now visual effects together in one software tool. DaVinci Resolve 15 adds an entirely new Fusion page with over 250 tools for compositing, paint, particles, animated titles and more. In addition, DaVinci Resolve 15 includes a major update to Fairlight audio, along with over 100 new features and improvements that professional editors and colorists have asked for….”

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Blackmagic Design DaVinci Resolve 15, Edit page

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9to5Mac: Logic Pro X gets major update: ChromaVerb, Vintage EQs, Multi Effects, more

https://9to5mac.com/2018/01/25/logic-pro-x-update-chromaverb-vintage-eq/

Apple has now released a new update for its flagship music recording software, Logic Pro X. While we are getting a very long list of minor tweaks and enhancements here, version 10.4 is bringing some major new features to the table along with some serious gear in the way vintage EQ emulation, new orchestral instruments, a pair of multi-effect plug-ins and hundreds of new sounds.…”

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Apple updates Logic Pro X to version 10.4 with the addition of new temporary detection technology, powerful new plugins, new Drummers, 800 additional loops and a new library for Alchemy synths with 150 cinematic presets.

Commentary

Apple’s affordable though high-end sound and visuals post-production software suites, Final Cut Pro X and Logic Pro X, have been given some impressive updates recently with the former gaining pro-quality colour grading features while the latter has received plenty of music-oriented improvements and content.

Now the stage is set for Apple to introduce some really big, long-needed improvements in its audio-editing and sound design capacity to equal or surpass the credible threat rendered by Blackmagic Design’s DaVinci Resolve 14 and its built-in Fairlight Audio page tools obtained as the result of the purchase of the legendary Fairlight audio and video hardware and software company.

Apple’s two separate post-production suites need to be made to work together in a far closer, far more intuitive way than they do at the moment to the degree that it would be unthinkable to use one without the other.

Let us hope that Apple has some pleasant surprises up its sleeves this year, but not too late in the year as Blackmagic Design is already roaring ahead with full audio integration in the free and paid-for versions of DaVinci Resolve 14.

Links

time in pixels: False Color Plugin 3

https://timeinpixels.com/false-color-plugin/

“One of the most useful tools for exposure monitoring and shot matching. Bring your camera tool to the post-processing environment!

Available for various platforms including OpenFX hosts: DaVinci Resolve, Scratch, Nuke, Sony Vegas Pro as well as Adobe CC: Premiere Pro and After Effects…..”

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Nick Driftwood: 8K Lumix GH5 Hi Rez Anamorphic – Hybrid Log Gamma – All Intra HLG Pro Rez to HEVC using Handbrake

“Music by Nick Driftwood. This is a 10-bit 420 encode using Handbrake HEVC x265. Now you can use Handbrake to encode your HLG Rec2020 / videos. This is an extreme example at hi rez anamorphic but basically the settings for handbrake h265 HEVC encodes are the same. Use the CRF constant Rate Factor to slide/change quality (lower is better quality but longer encodes).

Use chrome or other compatible browser to view upto 8K (Anamorphic x2 desqueeze to 9 884 pixels x 3 744 pixels in great quality INTRA).

Download special commit of Handbrake or info to build your own from here: https://goo.gl/AzFyLt

The critical thing to remember is to insert the text ‘transfer=arib-std-b67’ into the Additional Options box.”

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Blackmagic Design: Blackmagic Design Announces
 DaVinci Resolve 14 is Now Shipping

https://www.blackmagicdesign.com/media/release/20170907-02

“… DaVinci Resolve 14 is the biggest release in the history of the product, and has been designed to be a complete revolution in post production. DaVinci Resolve 14 is the world’s only fully integrated professional editing, color correction and audio solution. It scales from a single user all the way up to the largest collaborative studio workflows.

New features include up to 10 times performance improvement, a whole new audio post production suite with Fairlight audio built in, and multi user collaboration tools that let multiple people edit, color and mix audio from multiple systems, all in the same project at the same time. In addition, DaVinci Resolve 14 includes hundreds of new features for editors and colorists, including over 20 new effects such as automatic facial recognition and tracking so customers can quickly refine and enhance faces in their shots.

DaVinci Resolve 14 is like 3 high end applications in one. Customers get professional editing, color correction and new Fairlight audio tools. All it takes is a single click to switch between editing, color and audio. For multi user studios, DaVinci Resolve 14 Studio features bin and timeline locking, secure chat, a graphical timeline comparison tool for accepting and merging changes, and more. These features dramatically change post production from a linear to a parallel workflow. Customers no longer have to import, export, translate or conform projects. Everyone can work on the same project at the same time….”

Frame.io: Why DaVinci Resolve May Be the Single Most Powerful Tool in Post

https://blog.frame.io/2017/09/06/davinci-resolve-may-be-most-powerful

“You may have heard of DaVinci Resolve as a color grading tool—it has a strong pedigree in color, and about a decade ago, you only would have seen it inside high-end post-production houses and finishing facilities, replacing the color timing workflows for film with cutting-edge digital intermediate workflows.

However, it’s also great for syncing audio, preparing dailies, conforming, and in the past few years, has even started to offer tools for editing and sound mixing. The sound mixing tools are brand new, so the industry hasn’t adopted them widely yet, and the editing tools aren’t yet as robust as what you’d see from Apple, Adobe, or Avid, but they’ll suffice in a pinch. This whole collection of tools, together, makes Resolve one of, if not the most powerful tool in post-production. It’s the glue that holds the entire post-production workflow together….”

Grading Panasonic Lumix GH5 Footage? This List of LUT Plug-Ins and Color Grading Utilities for Final Cut Pro X May Be Useful – UPDATED

A number of Panasonic Lumix GH5 owners using Final Cut Pro X with LUT loading plug-ins have reported varying LUT interpretation results with 8-bit and 10-bit footage. The problem involves clamping or lowering the footage superwhites after LUTs have been applied. 

High whites are well-preserved in GH5 V-Log 10-bit 4:2:2 footage with Leeming LUT One applied in Premiere Pro, before and after

The most common problem reportedly does not appear in Adobe’s Premiere Pro NLE using the Lumetri Color panel, but seems to be centred on Apple’s Final Cut Pro X or more specifically some current versions of third party LUT-loading plug-ins.

So far the specific causes of this problem, and its permanent solution, have not been 100% identified, but it may be useful to share a list of the free and paid-for LUT plug-ins and related software that are currently available. If the cause resides in one or more specific LUT plug-ins, then it may be wise to try out others on the list below.

Meanwhile Premiere Pro itself has some problems with correctly supporting 8-bit and 10-bit GH5 footage and Blackmagic’s DaVinci Resolve colour grading software-cum-NLE also seems to incorrectly clamp super whites after LUTs have been applied.

LUT and colour grading plug-ins, and applications

  • Chromatic – currently undergoing development, CoreMelt’s Chromatic color grading plug-in is their “all in one color grading plugin that combines curves, color wheels, tracked masks, inside-outside mask grades, selective color correction, LUT loading and management and degrain, regrain all in one tool.”
  • Color Finale and Color Finale Pro – colour grading plug-in suite with LUT loading capability, made by Denver Riddle of Color Grading Central.
  • Epicolor – intriguing new product by Lemke Software, available through FxFactory, includes a post production LUT application feature.
  • FxFactory – retails a catalog of plug-ins and effects for Final Cut Pro X and other NLEs including colour grading plug-ins.
  • FCPX LUT Loader – free plug-in for Macs running macOS Sierra and later, made by FCPX plug-ins specialist Pixel Film Studios, which offers a number of LUT looks packs for purchase.
  • LUT Buddy – free LUT loader plug-in by Red Giant, formerly available as a separate download but now included in Red Giant’s Magic Bullet Suite 13, available in a trial version.
  • LUT Gallery – according to maker Denver Riddle of Color Grading Central, the “most powerful way to do color grading with LUTs! Includes Auto WB Color Picker”.
  • LUT Utility – by Color Grading Central, also maker of Color Finale.
  • LUTx – FCPX plug-ins maker CoreMelt states that LUTx is “the most powerful LUT solution for Final Cut Pro X” and retails a number of looks LUT collections.
  • mLUT – free LUT loading plug-in by motionVFX, retailer of a range of looks LUT packages.
  • ScopeBox – professional scopes application for macOS computers, that allows feeding video from a range of DIT tools and Adobe video software as well as Final Cut Pro X into ScopeBox via ScopeLink. ScopeBox maker divergent media says that “the scopes found in most desktop editing applications leave a lot to be desired – they’re not accurate, they’re slow, and they’re not configurable”.

The crux of the problem and a workaround

Paul Leeming of Leeming LUT One describes the problem as follows. The LUTs from his unified, corrective LUT system are “designed to maximize dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec. 709 starting point for further creative colour grading”.

The Leeming LUT One system provides “the best possible settings to maximise dynamic range and image quality for that camera, while minimising noise and other unwanted artefacts”. Thus the system’s LUTs are “designed to work with the full float levels of the video clips as they come out of camera”.

“Some cameras stop at 100 IRE, but others such as Panasonic and Sony retain superwhite up to 109 IRE (usually), so my LUTs are designed around that limit, not the 100 IRE limit,” Mr Leeming says.

He offers one potential workaround, until LUT plug-ins are updated to support float space. “The easiest temporary solution is to adjust IRE for clips to fall within 0-100 IRE, then apply the LUT, as in theory the distribution of values in float space should be the same. That should avoid clipping”.

Mr Leeming notes that he designs Leeming LUT One in Premiere Pro which “handles superwhites with the LUT directly” and “no need to pull down exposure” and was “not aware that there were programs which didn’t pull down superwhites or lift superblacks”.

A more permanent solution

Roger Bolton of CoreMelt, developer of Chromatic and LUTx, has further insights into the problem and its solution:

A LUT is defined in the color ranges 0-1 in float with 1 being defined as the highest legal level (100 IRE). You can stretch the LUT out to handle the additional levels but that’s changing the look of the LUT if it was designed on legal levels. There’s not really a “correct” solution that I’m aware of, so how a LUT loader should handle this is something that needs flexibility.

As Chromatic is currently under development, Mr Bolton says that “we plan to allow a few different ways of dealing with the issue” and has asked users to send him their requests. He states that LUTx will be updated to handle superwhites and Chromatic will also handle them when released.

Update

CoreMelt has released Chromatic and its is available as a 14-day free trial or as a special launch offer for one week only, closing at Pacific Standard Time (PST) 7th August 2017. The special offer contains Chromatic and over 150 LUTs.

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Image Credits

Still-frame from footage shot by Paul Leeming with Panasonic Lumix GH5 using V-LogL and Leeming LUT One GH5 settings then processed in Premiere Pro with Leeming LUT One for GH5.

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LumaForge: LumaForge NAB 2017 Recap Video Playlist

Blackmagic Design Announces Blackmagic URSA Mini Pro Digital Cinema Camera Plus More, Available Right Now

Innovative Australian movie and television production hardware and software company Blackmagic Design has announced an exciting new high-end digital movie camera, new colour grading hardware and the addition of two Linux distribution versions of its industry-essential high end colour grading and video editing software in its free and paid variations, DaVinci Resolve and Davinci Resolve Studio. 

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Blackmagic Design CEO Grant Petty announced the immediate availability of the URSA Mini Pro 4.6K digital cinema camera in three lens mount versions, two new colour grading hardware control surfaces in the DaVinci Resolve Micro Panel and the DaVinci Resolve Mini Panel, and the availability of DaVinci Resolve and DaVinci Resolve Studio in Red Hat and CentOS link distributions.

The URSA Mini Pro 4.6K replaces and advances beyond previous URSA cameras, the URSA and URSA Mini in their 4K and 4.6K versions. It comes in versions for three industry-standard lens mounts, B4, EF and PL, and upgrade schemes are available for owners of its predecessor cameras.

Blackmagic’s URSA Mini Pro 4.6K delivers on the promise of its URSA ancestors and is now, on the basis of specifications, an attractive and affordable camera for independent moviemakers wishing to move beyond current hybrid stills/video cameras and video camcorders into the realm of feature film quality CinemaDNG raw and ProRes image recording, trading their one-person operator status for a small crew.

The addition of the much-requested built-in ND filters boosts the allure of the URSA Mini Pro 4.6K for run-and-gun documentary videographers, while moviemakers working on less frenetic projects may wish to continue using high-end third-party neutral density filters sets attached by screwing on or via matte boxes.

Meanwhile, many independent moviemakers are wondering what has happened to the long hoped-for update to 2013’s Blackmagic Pocket Cinema Camera, the only affordable Super 16 raw movie-shooting small Micro Four Thirds-lensed pocket camera on the market, able to be used with none to minimal rigging and without external monitor/recorder.

URSA Mini Pro 4.6K

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A Basic Blackmagic URSA Mini Pro 4.6K Kit

Just a little bit bigger than the legendary Blackmagic Pocket Cinema Camera, a basic Blackmagic URSA Mini Pro 4.6K kit that may need the addition of some added extras like the Shoulder Mount Kit, spare battery pack, ergonomic hand grip, follow-focus device, more fast SD or CFast cards, matte box and more.

DaVinci Resolve Micro Panel

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DaVinci Resolve Mini Panel

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DaVinci Resolve and DaVinci Resolve Studio 12.5 for Red Hat and CentOS Linux

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Image Credits:

Header image by Carmel D. Morris with apologies to CrepusculumA.