Note: This information has been greatly expanded from my previous article on Windows video support.
Like any application DaVinci Resolve has limitations, especially in the free version. Some authors claim that either Microsoft Windows or Resolve (free) don’t support 10-bit video. But this is false. The limitations are more particular than such blanket statements. Read on for solutions.
SD memory cards are used for everything from mobile phones, field recorders, still cameras, and video cameras. The most common question is... which SD card should I buy? This article will decode all of the designations and provide simple answers.
Does your gear matter? Simple answer: yes.
Those populists who say otherwise are perhaps simply currying favour. Or, to be generous, perhaps they are attempting to counteract the overwhelming commercialisation of the internet, where everywhere you turn someone is proclaiming the newest trinket to be the GOAT (Greatest Of All Time).
But both extremes are wrong. The newest tool won't make your practice better. But it's also true that ignoring the quality of your gear is foolish. This article will assert the review principles that I abide by, so as to place my articles here in the correct context.
The subject of image equivalence is often mis-represented as overly complex or (worse yet) a matter of opinion. This article will counter incorrect statements you might read elsewhere, while simplifying the subject for concision. References are provided for those who wish to delve further.
This article will help you with the fact that many Microsoft Windows applications do not, by default, view cinema camera output, including 10-bit files and the HEVC (also known as H.265) codec. Have you ever asked yourself...
Read on for solutions, most of which are free and easy to achieve.
This article will recommend which Samsung SSDs you should use for video recording... and which you should avoid. This article assumes that you wish to support high video resolutions and bitrates. For less stringent requirements you may get away with something else. But it makes the most sense to purchase accessories that support the most demanding mode of your camera, in case your requirements change in the future.
Bottom line: The Samsung T7 Shield is recommended. Do not use the "plain" Samsung T7. The Samsung T5 is OK for lower rates. If you already have a Samsung T7 Touch, it will do as well.
In this article I will develop a Film Look PowerGrade for Resolve, which you can download and freely use on your own projects.
This is the last of four articles. In the first I conducted a practical test of Lumix S5 footage and stabilisation. The second article walked through an ACES workflow for DaVinci Resolve. The third article explained the film look and how to set up your Lumix S camera to shoot optimal footage.
Check out the video below, which compares the plain grading in my original installment with the new Film Look. Then read on for details.
This is the third of four tutorials on optimising DaVinci Resolve for Panasonic Lumix footage. In the first article I conducted a practical test of Lumix S5 footage and stabilisation. The second article walked through an ACES workflow for DaVinci Resolve. This post will provide specific camera settings for you to use. The final article develops a Film Look PowerGrade that you can use in your Resolve projects.
We begin by asking what makes the film look in the first place.
This article explains how to set up an industry-standard ACES workflow. This removes the requirement for using colour space transforms (CSTs) and look-up tables (LUTs), though you still can use such nodes if you need to. ACES ensures consistent colour processing from beginning to end. And it's simple.
Read on and I will provide instructions for DaVinci Resolve while explaining some technical background.
With the summer weather upon us, I took out my Lumix S5 to shoot some random video, in order to get a feel for the footage, how it takes a grade, etc. This ended up also being a good test of the built-in stabilisation. Read on for some practical information.
This is the first of four tutorials on optimising DaVinci Resolve for Panasonic Lumix footage. In the second article I describe how to set up an industry-standard ACES workflow in Resolve. The third post explains the film look and provides specific settings for Lumix cameras. The final article develops a Film Look PowerGrade that you can use in your Resolve projects.
One short trip to the canal turned into quite an extensive tutorial series!