RedShark has a sponsored look at the new ColourLab 2.0 Public Beta

Simon Wyndham at Redshark has a sponsored look at the the new ColourLab 2.0 Public Beta. I have to admit the AI powers of ColourLab 2.0 look very impressive, and I love that they have added Adobe Premiere and Apple Final Cut Pro integration instead of just DaVinci Integration. Colourlab is a subscription for creator which is $129 a year for Premiere and Final Cut, $299 a year for Pro which includes DaVinci or $599 for a permanent license, which is by far the best deal.

Chadwick Shoults at Creative Video Tips on DaVinci Resolve Project Server Collaboration – Shared Database Tutorial

https://www.youtube.com/watch?v=2jSxQfLOR2s Chadwick Shoults at Creative Video Tips has a great tutorial on using Multi User Collaboration in DaVinci Resolve. Shoults always has awesome and easy to follow Tutorials, and so if you need to do multi-user in DaVinci this is a great one to check out.

Darren Mostyn on using the new Halation Tool in DaVinci Resolve and the 3rd party Dehancer Plugin

https://www.youtube.com/watch?v=4RcgBopXIGA Darren Mostyn has posted this 22 minute video on the new Halation plug in DaVinci Resolve and Dehancer the 3rd party Halation Plug-in. Halation is a film effect on lighting that happened with film and both these tools are for getting them in digital. And it is Studio version only

File Naming Conventions, my two cents

OK, so not always the most thrilling subject, but after arguing with a post super about this, I wanted to give my 2 cents on file and sequence naming conventions, and for some of the reasons behind why I think the way I do. So first off is spaces, and I am a firm believer that there should be no spaces in your file/sequence names. I know that modern computers mostly deal fine with spaces, but to be on the safe size I think you should use underscores instead of spaces. Now file names should start with the job identification and name that your company specifies that you should figure out, and as much identifying info as you need. So lets say you are doing a short Star Wars commercial that is 2 minutes long and is job 040477, and it is titled Millennium Falcon Kessel Run in so I would say it should be SW_040477_120_MFKR_ to start. And a quick note, 120 for 120 seconds, and you would do 060 for a 60 second. And then as shown in my earlier posts about using PostHaste to set up sequences, I use STRINGOUTS, ROUGHCUT, OFFLINE and ONLINE as the nomenclature for the sequence. Now I have been told by a post super from television that they only use the job name, info and title and a version number, nothing else, but at least for commercial work, bts works and short films I have worked on, I totally don't agree. Personally I think if you can do it, ROUGHCUTS are for internal distribution mostly and the OFFLINE is when it starts going to the client, and should be much more finished, and have a decent audio mix, color correct, graphics, as much as you can get so you don't end up with the I don't know how to watch a rough cut lady. https://www.youtube.com/watch?v=4MNg3sSZ9F8 And I think you need ONLINE to designate the final exports, so you can keep track of them, as sometimes you go back to Ofllines and keep working then make new ones, and just version numbers can be confusing. Honestly I have had 3 or 4 Onlines at times, because you can't guarantee the client won't come back. Now this is something else that I think should be in your filenames, especially with remote work, and that is Initials of the editor/graphics artist. And even more so because with the job I am on, we have a graphics guy, who has been doing the graphics, but not only is too busy, but the ProRES 4444 takes a long time to upload and download, so he has been handing off his After Effects Projects, and After Effects projects are big and unwieldy, and hard to break down into individual comps. This means different people are rendering out graphics, and to make changes, it would be easiest to have initials in the file name of the graphics. And our Online editor also prefers initials in the file name, so…

Randi Altman’s Post Perspective Colorist Chat with Fotokem’s Dave Cole on working on Dune

OK I had to post this article on the Colorist of Dune because of the insane process for Color Grading that they did. I watched the new Dune at home on HBO Max, being a huge fan of the original David Lynch version, and having read all of Frank Herbert's original novels around the time the original film came out. I still am trying to wrap my head around the fact that they Shot the film on ARRI Alexa LF for the most part, then color graded in DaVinci Resolve, then scanned back to 35 mm film and then scanned back for grading. Which is to say at the least an incredibly expensive process. And how did it integrate with FX, did they do the scan first or after effects were added?