• Jay

ICA Classes Day 4

It’s hard to encapsulate everything I’m learning in this class. While there’s a lot a person could read on the internet or read in a book (describing myself here), there’s only so much a person can learn outside the experience and knowledge of tradition. This is where these classes are accelerating and enhancing my skill level more than anything I can probably think of right now.

For example,  while I knew the history of my craft, I didn’t know it’s direct affect on the software process we know today. The film grading process is very different than the video grading process. This namely comes down to the tools used to achieve similar or mostly similar results. Yes, there aren’t really any rules per se, but in this case, the importance of which tools you use directly relates to image quality. Use the wrong tool, tear apart the image. I had a few bad habits here I’m chagrined to say.

We’ve learned the history behind this, what make some systems not quite as film grading friendly and how to work around these limitations to maintain our quality retention while working on an image. Take the Tangent Wave for example. Most of the tools I’ll be using extensively now, aren’t mapped to convenient keys or routed in other pages. This makes me seriously eyeball the Resolve panels. And if work continues to progress at it has so far, this could be a possibility next year or so.

Currently, we’re rocking through achieving popular looks that clients will ask for or that we see regularly in films (yes, orange and teal is one of them but not the overdone Michael Bay sort of way.) I certainly have a few bad practices here, achieving th the looks with more effort in unefficient ways. Ways also that correlate back to the crafts history in telecine and film processing. While software-based now, the same film concepts still apply in retaining image quality.

Finally, as my brain swims with concepts and best practices much of it landing on my 15 or so pages of notes (outside his materials provided), I’m understanding things about Resolve that never quite made sense before or aren’t listed in the manual and you’d only likely know if you’ve worked on an 2K or older system. (that was a long sentence). These things will again make me faster and more efficient (and desperately want the Resolve panels).

So I’ll leave you with this final note about structure handling in Resolve nods: in the layer of corrections in a single node in Resolve, the saturation control (both curves and saturation) are the last element in the node so you can’t for instance work on black and white image adjustments via your primary controls without making a new node.



©2019 by Jay Friesen.

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