Resolve Fundamentals 18 with Warren Eagles

Name: Resolve Fundamentals 18 with Warren Eagles
Price: 149 149
Availability: InStock

$149.00

This is the 17th season of my partnership with fxphd to produce online Resolve training. In today’s world, we are shooting more and more content, all of which needs to be edited and graded to maximize impact.

It doesn’t matter if you are making YouTube training videos or directing your first feature film, coloring is very important and is the final piece of the film making jigsaw. My aim is to give you the confidence to color your first project from top to bottom in Resolve.

Here’s what I’ll be covering in the course….

This course is targeted at beginners in Resolve

This is a complete beginner’s course. You will be taken through the steps needed to get started with both the editing and color features. You can follow the individual 20 to 25 minute classes using the same techniques on the same footage that I use. The training media can be downloaded and may also be used for your showreels.

You will be coloring a wide variety of footage

Footage included in my course includes a Noosa, Australia tourism sequence that was filmed on the Blackmagic 6K Pocket camera, the RED Komodo, and includes a variety of stock footage. You will learn how to assemble a basic sequence including speed ramps, re-frames and titles. Once the sequence is edited, you’ll learn how to color correct it combined with window shapes, keying and tracking before rendering to your desired social media or TV destination.

Learn the craft of grading, not just how to use the software

I will always try to show you ‘why’ you do something not just ‘how’ to do something. My aim is to give you a very rounded view of not only the software but grading in general. I think my real world experience as a colorist and teaching classroom classes for iColorist helps the way I transport techniques into my online training classes at fxphd. You will find cheaper or free tips on YouTube, but you’ll never get the time back you’ll spend searching for them!

The course is ideal for editors, photographers, DITs, DPs, VFX artists, directors, and even producers.

If you want to understand more about the color process — or if you need to edit or grade a 30 second promo for social media, a small TV commercial, or your passion project short film, this course is for you.

It will also give DPs, directors, and producers a better understanding of the complete post process. The course will give you a solid foundation and the confidence you need to get started and grade your first project.

About me

I’ve been grading for 30 years, starting in photography before moving into London’s film cutting rooms and settling into the role of Colorist. I have extensive experience in all forms of grading, from Super 8 music videos to feature films. I’ve been using Resolve since 2005 and am proficient in both the software and what can be achieved creatively with it. I have my own DaVinci Resolve grading facility in Australia and spend time grading or teaching International Colorist Academy classes.

Visit my web sites at:

www.warreneagles.com.au
www.icolorist.com

Class Listing & Details
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Class 1: DaVinci Resolve, what’s it all about?

Warren walks you through the Resolve 18 software, showcasing his aims for the course.

Footage. Travel Promo shot on RED R3D, BMD 6K Pocket and various stock footage.

Class 2: Getting started with Resolve

Download the software and dive in! Blackmagic Design have done a great job making the software easy to use. See how to create a simple timeline and get started.

What should you buy: the free Resolve version or Resolve Studio?
Downloading the software
How to set up the Resolve user preferences
Creating a new project with mixed camera footage
Looking at the Metadata and clip info
Creating a basic timeline

Class 3: Getting started with Editing

How hard can it be? If you already color in Resolve it makes sense to stay in Resolve and edit. It’s so much easier than using Avid, Premiere Pro, or FCPX for editing before jumping to Resolve for color.

Editing a small sequence together
Project settings
Reviewing all your camera rushes
Choosing a clip to start your edit
Insert, over-write, and replace commands

Class 4: Basic Editing

When I started out back in 1987, we only had two formats 16mm and 35mm film! Learn why there are so many different camera formats these days, learn about the subtle differences and how they behave in Resolve 18.

Editing different camera formats
Coloring whilst editing so you don’t have to look at flat pictures
Storing your grades in the still store Gallery
The Split Screen viewer
Slip or roll your edit
Changing the speed and size of a clip
Creating a picture in picture effect

Class 5: Primary Color Correction, Part 1

Well done! If you have gotten this far, you have successfully edited a number of clips from different cameras into a short sequence. Now the fun begins: you’ve got to color it!

Adding an external hard drive
Basic color management will be needed if you aspire to work on Netflix/Amazon type shows
The most important skill, the primary grade
The scopes explained, plus the important relationship between the scope and the Resolve viewer window
Evaluating the image with the RGB 10bit Color Picker
Balancing Log footage using Offset, Contrast and Pivot before using Lift Gamma Gain
Making the picture black and white to judge contrast
Using a greyscale ramp to understand the tools
Backing up your session

Class 6: Primary Color Correction, Part 2

Nobody said it was easy! You have graded some nice pictures so far but we still need another lesson or two on primary grading. We are often in a rush to start a project, but is it wise to plug in your hard drive and get started straight away?

Cloning footage from an external HDD to your fast storage
Copy your grade to another shot
The Resolve Node explained
Balancing a shot with a bad color temperature
What is a LUT and how do we use them?
The Resolve vectorscope
Don’t crush the blacks, YouTube doesn’t like it!
What is the correct order to use the tools in?
Grabbing a still frame into the Gallery to save your grade that can then be used as a reference still or exported.

Class 7: Primary Color Correction, Part 3

What to do if you receive very dark or underexposed footage. How far can you go before breaking the image?

Primary color correction reviewed
The best practice for lifting an underexposed shot
What are the noise reduction options?
Fixing bad color temperature
A cool trick to reset your eyes and your brain

Class 8: Color

Every film has a main subject, whether it be a singer, lead actor, whisky bottle, fast car, etc. Bring the subject to the attention of your viewer using Power Windows to creatively light the subject.

Why is it a good idea to shoot a color chart?
Custom curves
Don’t break the image!
Adjusting a selected area using a Power Window
Is it a matte or a Mask Power Window?
Tracking: the most fun you have in a dark room!
Animating to fix the Automatic Track when it fails.

Class 9: Secondary Color Correction

You want the viewer to look at your interviewee, but the girl in the hi viz jacket behind keeps drawing your viewers’ attention! Secondary tools are great for subtly changing the saturation or hue of a color so it draws your attention either more or less.

Always balance the picture first.
Secondary Color Correction with the eye dropper Qualifier
Fine tuning the isolation area with Matte Finesse
Hue Curves vs. The Color Warper
Changing the color of a single object in the scene
Restoring a Resolve back up to your system.
Want to practice? What can we do?

Class 10: Proxy Workflow

If you want to collaborate with another editor or colorist, the easiest way is to make and share proxy files. They are low resolution clones of the original RAW footage, often encoded as H.264 files.

What are proxies and how do we make them?
The timeline proxy mode that lowers quality on the fly
Using the Proxy Generator to make proxies for the advanced class
Optimize media to make it easier to edit bigger files on your system
Rendering with your low res proxies to make a quick “work in progress” movie

Class 11: The Fundamentals Grading Challenge

This is a fantastic sequence with many problems that will test what you have learnt so far. Set yourself a time limit of sixty minutes mins to grade the whole sequence. Good luck!

Project settings, color management, frame rate etc.
Saving a project default
Use the Scene Cut Detector to add edit/cut points to the ‘”baked’ sequence exported from Premiere Pro
I give you my thoughts on how to grade it, what would I would do
Matching underexposed and overexposed shots side by side to see then both on the monitor and the scopes at the same time
Playing at double speed to check consistency
Using the Lightbox feature to see a thumbnail of each clip in your timeline
Face Refinement OFX to easily enhance the face
Sizing options explained
Grading the whole timeline, not just the clip you are on
Fixing bad color temperature

Class 12: Finishing and rendering your film

We have learnt lots of things, but our grade is only as good as the render our client will see. I discuss our render options including making an Instagram square version.

The Deliver Page
Render your HD footage and timeline to UHD
Changing the decode settings
Making your 16×9 aspect ratio timeline fit an Instagram square format
Saving a render preset