![]() The new Color Resolve Management actually closer to the Truelight Color Spaces idea, but without using the IDT, DRT, ODT etc.Īnd finally one more great feature, not as significant as Color Management, but something that will be greatly appreciated by anyone, that needs to move the project to another computer- Relink. ACES 1.0 is there and it is too available, if that is how you prefer to work. ![]() Well, that's at least the theory BTW, it is not the same process as ACES. Then you can declare the deliverable format and Resolve will automatically apply correct transforms for you. You can choose the color space of your timeline, like LOG-C, Blackmagic 4k camera etc and then with assistance of new smart folders to sort different cameras and apply the proper transform to other camera material used, so all retrial in the timeline will look and act as one camera and your tools will work correctly as well. With new Color Management all these issues are finally behind us. Also, if you had multiple camera sources on your timeline, again, that is problematic. But more importantly, if you were using Log material, your tools too do not work correctly, including LOG controls. For example, everyone knows, that in order to correctly key Log image, one needs to apply some kind of Log2Vid LUT on the node before. Up until now, Resolve only understood the Video Gamma. This feature pretty much becomes the new color science foundation for the new workflow. ![]() ![]() I'd had been watching this thread for a while now and, to my surprise, only Jack Jones had briefly mentioned the biggest new feature of Resolve 12. ![]()
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