Warren has been grading for 29 years. He started in photography before moving into London’s film cutting rooms, then settled into the role of Colorist. Warren has extensive experience in all forms of grading, from Super 8 music videos to feature films. A Resolve user since 2005, he is proficient in both the software and what can be achieved creatively with it. Warren has his own DaVinci Resolve grading facility in Australia and spends his time grading, or teaching International Colorist Academy classes. You find out more about Warren at www.warreneagles.com.au & www.icolorist.com
Once you purchase this course, you can immediately download all class instruction videos. This course is not part of the normal fxphd membership and does not include access to our discussion forums or VPN software. Footage supplied with the course may only be used for learning or your showreel (use in commercial or non-commercial projects is prohibited).
Class by class breakdown
CLASS 01: INTRODUCTION
New save function, back up location, keyboard mapping, new node icons, Shared Node, LUT hover preview.
CLASS 02: RESOLVE 15, WHAT ARE THE COOL FEATURES?
Gallery still hover preview of all your timelines, Power Bins explained, Layer Mixer Composite Mode Preview, adding an external matte in the Color Page, new Secondary Qualifier tools, title tools and subtitles I(including importing .SRT files), Dolby Vision software CMU tools, CP and IMF direct rendering output without DCP software.
CLASS 03: CONFORMING FROM PREMIERE PRO
Waiting for a locked cut? You can still set Looks. Prepping in Premiere Pro, conforming a 45 second sequence using RAW .DNG files while ignoring the .MOV files used by the editor. Checking your conform against a reference offline movie, finding missing clips, and examining which effects from Premiere are supported in Resolve, and Media Pool column settings. Conforming an additional 20 second sequence in the same project.
CLASS 04: CONFORM VS. BAKED, INCLUDING REMOTE GRADES
A look at the advantages of XML conform verses splitting a baked sequence with the Scene Cut Detector or EDL. Remote Grades vs. Local Grades and how to unlock Remote Grades using a version.
CLASS 05: PRIMARY CORRECTION – WHERE DO WE START?
Grading RAW DNGs, using the Finalcolor test patterns, making a greyscale ramp to help learn the tools, and LOG grading tools vs. Lift Gamma Gain. Should you use a LUT at the beginning or the end of your Node tree? Adjusting the RAW controls to maximize the image.
CLASS 06: PRIMARY CORRECTION, PART TWO
When grading very dark shots, how much can we lift the image? Adding an external matte in the Color page, using a Serial node to blur the matte,
using OFX Alpha Matte Shrink and Grow plugin to adjust a matte. Exploration of ways to match shots, Gallery hover preview to show a number of temp grades, and ColorTrace to recover your grades when the cut changes. Rendering UHD using the Premiere Pro preset and bringing the UHD clips back into Premiere Pro.
CLASS 07: COMPLETE NODES
When to use what node: Serial, Parallel, Layer, and Key Mixer.
CLASS 08: TRACKING
Window Tracker and how to fix a broken track, animating a shape while tracking with keyframes. Tracking in FX mode and attaching an OFX Lens Blur to a track plus using the Point Tracker and animating a shape off the screen. Tracking in Stabilizer mode.
CLASS 09: GRADING RAW & DAVINCI YRGB COLOR MANAGED VS. ACES
What are the advantages using a scene referred workflow over the standard display referred workflow? Using some of the same mixed camera clips that used in the Looks and Matching course, a look at ACES IDT and ODT, including how to set each clip’s IDT individually. Using a Davinci CTL to fix neon light problems in ACES.
CLASS 10: WARREN’S TEN CLASSIC PROBLEMS
Covering a variety of issues and how to fix them. Dealing with bad green screen, fixing incorrect color temperature and bad highlights, and using the OFX patch remover to remove unwanted objects and add extra clouds to our clip. Should you use noise reduction before or after color correction? Temporal vs. spatial noise reduction and how to see where the reduction is working. OFX Deband to remove 8-bit banding, OFX Dust Buster, and OFX Color Compressor to fix uneven shades of RED footage. Controlling lens flares and PAR to un-squeeze anamorphic images.
CLASS 11: DRONES
UHD H.265 likely won’t play in real time, so use optimized media to generate new media that will play in real time. Building depth with shapes to add contrast and color, cutting haze in a nice way using OFX Dehaze, fixing a magenta shift and aliasing with OFX Gaussian Blur, and using Data Levels to reveal more detail in over-exposed footage. Breaking up a large tracking shot using the razor blade and adding dissolve.
CLASS 12: FINISHING AND BACKING UP
Using Media Management to copy only the shots used, so you keep a copy of the media, if your client takes their source hard drive. Making Davinci Resolve Project (.drp) and a Davinci Resolve Archive (.dra). Adding handles before rendering.