The lightbox is just a quick visual overview of all the clips in your timeline.
Open FX gives you access to many useful visual effects built into DaVinci Resolve, along with any FX plugins you may have added. Data flows from left to right, and you can add many kinds of nodes. Your color corrections are applied on nodes that form a node tree, the output of which becomes your final image. Like the clips, the timeline can be revealed or hidden by pressing the button on the top right. This is a full representation of the clips in your timeline that allows you to quickly scroll through and find different clips. There are many filter options to help you with big projects. You can hide the clips panel if you need to by pressing on the button at the top, or you can filter them using the dropdown menu. These are thumbnails of the clips in your timeline that provide a quick visual representation as well as providing some basic information about the clip itself and if any color corrections have been applied. For a bigger view, press ‘Ctrl/Cmd + F’ to go full screen. This is where you can see the results of your video color corrections as you make them. The media pool is where you can access your project media. LUTs (Look Up Tables) are used to apply pre-made looks to footage or transform footage to a specific color space. Use the tabs to open the LUTs and Media Pool panels. You can use stills to copy color corrections and grades to other clips. The stills gallery is where your stills are stored.
Let’s start by looking at the Color Page layout in DaVinci Resolve 17 and what tools we will use for video color correction. DaVinci Resolve is a professional color grading solution used in many Hollywood productions that can help you achieve the look you want, whether it's a commercial or film look. Color has a big impact on how a viewer experiences your video and can even create a specific mood the director wants. Simply put, you want to color correct your videos to make them look the best they can and color grade them to add a certain aesthetic, like the teal and orange look you see in many films. You certainly want to get things right in-camera, but the final look is often created in post by video color correction and grading. We’ll fix it in post! This is the often lamented phrase on set, but for some things, that is exactly where you end up making the difference.
0 kommentar(er)
