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Giáo trình học DaVinci Resolve 12 đầy đủ chi tiết nhất
Oh, hôm nay dohoafx.com sẽ giới thiệu đến anh chị em yêu thích dựng phim và chỉnh màu cho phim ảnh một giáo trình rất chi tiết về phần mềm DaVinci Resolve 12 mới nhất . DaVinci Resolve đang là một phần mềm đình đám trong việc xử lý màu sắc cho video rất chuyên nghiệp , để giúp bạn làm chủ nó , dohoafx đã đăng tải một bộ giáo trình trọn vẹn được hứa hẹn là giúp bạn nắm chắc và xuất bản thành công videoclip của mình
DaVinci Resolve 12 cung cấp đến cho bạn rất nhiều tiện ích trong chỉnh màu dựng phim , vì thế thao tác của nó cũng rất nhiều, giáo trình của dohoafx chia sẻ bao gồm 90 phần bài học chi tiết, ghi chú theo từng phần trong list video . Bộ giáo trình tiếng anh phát online tại dohoafx giuasp bạn có thể xem bất cứ lúc nào , ở đâu
Danh sách 90 video bạn học gôm có
1. Introduction
Resolve vs. Resolve Studio
Working in the Project Manager
Setting up a Multi-User Login
Accessing the Database Manager
Understanding Database Types
Switching Between Databases
2. Choosing Preferences
Choosing a Scratch Disk
System Preferences
Video I/O and GPU Settings
Audio Preferences
Control Panels
3. The Project Manager
Exploring the Project Manager UI
Adding Projects to Folders
How Projects are Organized
Moving Projects via Copy/Paste
Changing the Project Manager Appearance
Searching for Projects
Copying Projects Between Databases
4. Relinking Media
Importing a DRP File
Selecting Items for Relinking
Relinking Project Media
Saving the Project
Renaming a Project
Archiving a Project
5. Setting up a Project
Accessing Project Settings
The Master Project Settings
Choosing a Timeline Resolution
Pixel Aspect Ratio
Timeline Frame Rate
Video Monitoring
Conform Options
Working with Mixed Frame Rates
Image Processing
Working with Interlaced Footage
Choosing Video I/O Options
Video Bit Depth – Performance over Quality
EDL & Media Composer Conform Options
Image Scaling
Output Scaling
6. Project Organization
Use Timelines Bin
Use Smart Bin for Timelines
Creating Sub Bins in the Timelines Bin
7. Keyboard Mapping
Keyboard Sets
Modifying a Shortcut
Saving a Mapping Preset
Auto Save Options
8. Importing from Other NLEs
Load XML Options
9. Touring the Resolve UI
Choosing a Workspace
Choosing a Layout
Resetting the Layout
Resizing UI Panels
The UI Toolbar
The Media Pool
Importing via Drag and Drop
The Viewer
Audio Meters
The Metadata Editor
Creating Custom Metadata Sets
10. Exploring the Edit Page
The Media Pool
The Source Viewer
The Timeline Viewer
11. Quick Tour of the Timeline
12. Quick Tour of the Color & Deliver Pages
Resolve’s 4 Part Workflow
13. Importing Media
Opening Project Zero
Locating Media in the Media Storage Browser
Viewing Folder Hierarchies
Previewing Clips in the Viewer
Revealing Duration & Timecode
Media Import Options
Importing Into Media Pool Bins
Drag & Drop Importing
Adding a Favorite
Drag & Drop from the Desktop
14. Cloning Media for Backups
Adding a Job
Set as Clone Source Option
15. Importing Individual Frames
16. Organizing the Media Pool
Creating Bins
Adding Clips to a Bin
Adding a Sub-Bin
Using Smart Bins
Color Coding Bins
Filter by Color Tag
Organizing Bin Content
Customizing the Metadata Column View
Sorting Column Metadata
Media Pool Searching
17. Clip Metadata
Viewing Clip Metadata
Editing Metadata
Approaches to Adding Metadata
Using Keywords
18. Editing Clip Attributes
Video Attributes
Audio Attributes
Timecode Attributes
Name Attributes
19. Syncing Audio
Auto Syncing by Waveform
Verifying Audio Sync
Manually Syncing Clips
Track Remapping
20. Working with RAW Media
21. Working with Log Encoded Media
Resolve Color Management
Input to Timeline Color Space Conversion
Applying a Color Space
Bypassing a Chosen Color Space
22. Best Light Grades for Editing
Using Remote Grades
The Benefits of Using Remote Grades
Copying Remote Grades
Sharing Remote Grades Between Timelines
23. Improving Performance
Optimizing Media for Playback
Using Smart Bins to Collate RAW Clips
Generating Optimized Media
Identifying Optimized Clips
Choosing the Optimized Media Format
When to Use a Float Format
Choosing a Resolution
Switching Between Optimized & Original Media
Deleting Optimized Media
Reducing Playback Resolution
Using Smart Cache
24. Clip Logging and Prep
Adding a Display Name
Using Metadata for Display Names
Copy & Pasting Metadata Variables
25. Marking Clips
Marking In and Out Points
Adding a Marker
Navigating to Markers
Creating a Subclip
26. Advanced Media Management
Copying Media
Moving Media
Transcoding Media
Media Managing Clips
27. Source & Timeline Viewers
Opening the Project
Resetting the Workspace
Changing the Viewer Mode
The Transport Controls
JKL Transport Controls
Looping Playback
Zooming the Viewer
Marking In and Out Points
Show All Video Frames
The Timeline Viewer
Switching Timelines
Scrubbing the Timeline
Transform & Crop
28. The Timeline
How Audio is Organized
The Toolbar
Timeline View Options
Zooming the Timeline
29. Working with Tracks
Destination Controls
Disabling Tracks
Editing Track Labels
Locking Tracks
Auto Select Controls
Audio Track Controls
The Master Track
Rearranging Tracks
30.The Effects Library
31. The Edit Index
32. The Inspector
33. The Audio Meters
34. The Clip and Track Mixer
35. Preparing Clips for Editing
Hover Scrubbing Clips
Working in List View
Viewing Clip Filmstrips
Marking Clips in the Filmstrip
Flagging a Clip
36. Creating a Timeline
Create Timeline Using Selected Clips
Creating an Empty Timeline
Creating a Fast Stringout Timeline
Creating Timelines from Bins
Dynamic Project Switching
37. Drag & Drop Editing
Clip Dragging Options
Using the Overwrite Clip Button
Drag & Drop Overwrite Edits
Video Only Overwrite Edits
Resizing the Video Track
Creating New Tracks via Dragging
Overriding Clip Linking
Adding Tracks via the Track Header
38. Playhead Jumping
Jumping the Playhead to Edit Points
Using Auto Select to Control Playhead Jumping
39. Editing with More Precision
Overwrite Edits
Checking Destination Targets
Previewing the Edit
Changing Pre-Roll & Post-Roll
Match on Action Edit
3-Point Edits
Insert Edits
Overwriting to Track V2
Track Destination Shortcuts
Moving a Clip to Another Track
40. Matching Action
41. Making a Dialogue Edit
42. Replace Edits
Using the Timeline Viewer Overlays
43. Ripple Overwrite Edits
44. Backtimed Edits
45. Shuffle Edits
46. Other Editing Options
Roll Edits
Nudging Clips
Making Clip Selections
Blade Edits
Through Edits
Lift & Ripple Delete Edits
Keyboard Editing
How Auto Select Governs an Edit
47. Refining the Dialogue
Creating a Split Edit in the Source Viewer
Creating a Split Edit in the Timeline
Shortcuts for Choosing a Trim Type
Closing a Gap
Performing a Video Split Edit
48. Maintaining Sync
Disabling Clip Link
Out of Sync Warning
Resyncing Clips
Creating Linked Relationships
Linking Multiple Clips
49. Fit to Fill Edits
Applying Optical Flow
50. Working with Markers
Adding a Timeline Marker
Navigating to Markers
Adding a Clip Marker
Ripple Timeline Markers
Viewing Markers in the Edit Index
51. Clip Grouping Methods
The Take Selector
Compound Clips
Editing the Contents of a Compound Clip
Decomposing a Compound Clip
Nesting Timelines
52. Multicam Editing
Creating a Multicam Clip
Choosing Multicam Clip Properties
Choosing a Syncing Method
Creating a Timeline from a Multicam Clip
Viewing the Contents of a Multicam Clip
Setting up for a Multicam Switch or Cut
Controlling what Elements are Switched or Cut
Choosing an Audio Angle for Monitoring
Cutting Angles in the Source Viewer
Trimming an Edit Point
Manually Switching Angles
53. Reorganizing a Multicam Clip
Changing Angle Priority
Renaming Angles
54. Using the Trim Tool
How Trimming Works in Resolve
Rule that Governs Ripple Edits
How Auto Select Toggles Affect Trimming
Auto Select Shortcuts
Trim Tool Main Functions
Dual-Sided Ripple Trims
Identifying Available Media (Handles)
Slip Edits
Slide Edits
Roll Edits
55. Trimming in the Source Viewer
56. Keyboard Trimming
More Ripple Editing Rules
57. Trimming with Timecode
58. Dynamic Trimming
Dynamic Trimming Method 1
Dynamic Trimming Method 2
Multiple Selection Dynamic Trims
59. Trimming to the Playhead
Trim Start/Trim End
Extend Edits
60. Multi-Selection Trimming
Asymmetric Trimming
Real World Examples
61. Working with Transitions
Locating Transitions
Adding a Transition
Adding Video and Audio Cross Dissolves
Targeting Video or Audio for Transitions
Adding Transitions with the Keyboard
Adding Transitions to Multiple Edits
Setting a Standard Transition
62. Modifying Transitions
Changing Alignment
Swapping Transitions
Changing Transition Properties
Changing the Transition Style
Changing the Easing
Creating a Custom Transition with Curves
Shaping the Curve
63. Filter & Smart Cache
Enabling Smart Cache
Searching for Effects
64. Using the Smooth Cut Transitions
65. Working with Audio
Compatible Audio Files
Rolling the Audio
Adding a Cross Fade
Changing the Cross Fade Type
Unlinking the Audio
Adding Fades
Disabling Audio
Track Copy/Paste Rules
66. Using Markers for Audio Work
Editing Music
67. Working with Audio Channels
Adding an Audio Track
Mono vs Stereo Track Assignments
Displaying Individual Audio Channels
Changing the Track Type
Editing Independent Channels
Changing Audio Clip Attributes
Remapping Audio Channels
68. Setting Audio Levels
Using Audio Overlays
Copy and Paste Audio Attributes
Using Audio Keyframes
69. Audio Mixing
Audio Output Remapping
Assigning Track Type
Mute and Solo
Pan Control
Volume Reset
The Master Channel
Revealing Audio Track Overlays
Benefit of Using Track Overlays
Recording Automation
Touch, Latch & Write Automation
Set to Touch After Write
Making Adjustments to Automation Keyframes
Clip Automation
70. Audio Filters
Applying a Filter to a Clip
Removing Audio Filters
Revealing the Filter Interface
Applying a Filter to a Track
Working with the Master Track
71. Exporting for Audio Workstations
Exporting to ProTools
72. Working with Effects
Adding a Fade Effect
Adding a Letterbox Effect
Modifying the Effect in the Color Page
73. Transform Controls
Rotate, Anchor Point, Pitch & Yaw
Resetting the Transform
Keyframing an Effect
Opening the Keyframe Editor
Changing the Interpolation
Flip and Flop
Transforming in the Timeline Viewer
Resetting Transform Parameters
74. Compositing Controls
Choosing a Composite Mode
Changing Opacity
75. Adding Titles
Using Place on Top
Editing the Title
Adding a Background
Copy & Paste a Title
Animating Titles
Smoothing the Animation
Easing the Motion
Pasting Title Attributes
76. Speed Effects
Changing Clip Timing – 2 Methods
Change Clip Speed
Retiming a Clip
Dragging to Change Speed
How Audio is Handled
Variable Speed Effects
Adding a Speed Point
Applying Optical Flow
Changing the Speed of Segments
Speed Presets
Speed Ramp
77. Color Page Effects
Overview of the Color Page
Stabilizing a Shot
Tracking an Object for Blurring
Adding a Node
Creating a Shape (Window)
Creating a Custom Shape
78. Combining Takes Using Shapes
79. Keying
The Qualifier Palette
Using the 3D Keyer
Enabling Highlight Control
Viewing a High Contrast Matte
Removing Noise
Inverting the Matte
Removing Spill
Creating a Compound Clip
80. Exploring the Color Page
Viewing Timecode
The Gallery
Creating a Still for Shot Comparison
Exploring Wipe Options
Saving Grades in the Gallery
The Node Editor
How Nodes Work
The Timeline
The Mini Timeline
Adjustment Palettes
The Color Wheels
The Curves Editor
The Keyframe Editor
The Video Scopes
The Toolbar
Adding Window Burn
81. Remote vs. Local Grades
Creating a Grade Version
Switching Between Versions
Remote and Local Versions
Copy Remote Grades to Local
82. Automatic Color Adjustments
Using Automatic Adjustment
Previewing the Grade
Resetting a Grade
Using Split Screen
Automatic Shot Matching
83. Manual Color Adjustments
Gain Controls
Gamma Controls
Lift Controls
Contrast Controls
Finding a Representative Clip to Grade
Reducing Gain to Retrieve Detail
Reducing the Shadows
Using the Offset Control
Making Contrast Adjustments First
Resetting the Color Wheels
Lift, Gamma, Gain Sliders
Curves Control
Creating an S-Curve
Targeted Curve Adjustments
Benefits of Using Curves vs. Color Wheels
Hue vs. Sat Curve
84. Copying & Matching Grades
Saving a Still
Matching Grades
One Still per Scene
Creating a Split for Shot Comparison
Analyzing the Images in the Scopes
85. Making Secondary Adjustments
Using a Qualifier
Finessing the Qualifier
Types of Qualifiers
Isolating a Face
Tracking a Window
86. Using 3rd Party Plugins
Correcting Barrel Distortion
Using the Sizing Palette
87. Removing Unwanted Camera Movement
88. Broadcast Safe Controls
89. Preparing a Project for Output
Changing the Starting Timecode
Starting Your Program at 1:00:00:00
Adding Pre-Program Elements
90. Delivering Your Movie
Render Settings
Rendering a Single Clip
Render Timeline as Options
Choosing a Video Format to Render
Choosing a Resolution
Audio Export Options
Choosing File Options
Rendering Image Sequences
Setting Additional Outputs
Add to Render Queue
Adding More Jobs to the Render Queue
Updating a Job
Starting a Render
Power User Tip
Wrap Up
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Giáo trình học DaVinci Resolve 12 đầy đủ chi tiết nhất
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El próximo 11 de noviembre tendré el placer de compartir cartel con grandes profesionales en el evento Recvolucion 4 (Madrid, 10-11-12 de noviembre de 2015 en el hotel Dormir de Cine). Hablaré sobre las novedades de DaVinci Resolve 12. Mas info en la web: http://rec4.recvolucion.com/
Creating The Look For SRK's 'Raees' - This Video Explains What A Colorist Actually Does!
55SHARESshare on facebookshare on twitter Colour correction or colour grading is often the least talked about and most overlooked aspect of the post-production process for the film. Yet the look and feel of the movie depends to a large extent on the skills of a digital colorist. Digital colorists work closely with the director and especially with the director of…
Creating The Look For SRK’s ‘Raees’ – This Video Explains What A Colorist Actually Does! was originally published on Jamuura Blog
Blackmagic Design’s DaVinci Resolve 12 Beta is OUT
I downloaded my upgraded copy of DaVinci Resolve Studio today; it’s been a while since I’ve been this excited about a piece of software. Blackmagic has just taken a BIG bite out of Premiere Pro and the FCPX fanbase with their update to Resolve, adding a plethora of new tools to the interface with editors in mind, making this update of Resolve the most groundbreaking.
Adobe Premiere 2015 Lumetri Colour Workspace
Adobe recently updated Premiere CC with a MAJOR interface update of their own, incorporating the colour correction power of Speedgrade into Premiere Pro with the new Lumetri Colour tab. I’ve been using Premiere Pro CC 2015, and the colour correction interface is very nice, powerful and simple. If you’ve ever edited a photo in Adobe Lightroom before, the new colour correction tools in Premiere will feel very familiar. It’s a really nice upgrade for Premiere, but will it be enough to hold back people who aren’t fully satisfied by the rest of the Premiere workflow?
Blackmagic also now has Fusion 7, which goes head to head with Adobe After Effects for VFX work, making the need to stick to an Adobe workflow even less necessary, especially when the price of Adobe products are not free like Fusion 7 is.
What About Final Cut Pro X?
With the latest updates from Adobe and Blackmagic, Final Cut is now lagging behind in the colour correction space. The tools within Final Cut Pro X, although seemingly simple looking at first, are VERY powerful. I use FCPX all the time and at this point, generally prefer it to other NLEs. It has a simple colour balance and colour match feature (neither of with you can tweak--only add to--which is a shame) and does a good job at providing tools for secondary colour correction as well as masks. It’s also very inexpensive. Having said that, FCPX is more of an editing tool than anything, which is where DaVinci Resolve 12 steps in.
DaVinci Resolve 12
Resolve 12 is a FREE colour correction platform that can now fully handle non-linear editing, multi-cam editing and audio editing without leaving the program. Resolve has always been the most powerful of colour correction platforms, but with the addition to editing, it’s hard to see what exactly they have left out of the software, it’s just that powerful looking. Watch the videos on their website if you don’t believe me.
Owners of the paid version of Resolve can upgrade to the Public Beta, called Resolve 12 Studio, for free. Studio adds “4K output, motion blur effects, temporal and spatial noise reduction, 3D tools, remote and multi user collaboration tools.”
With all the new features, Resolve may end up taking the top spot in the non linear editing platform over Adobe and Apple. For now, I just can’t wait to start editing.
DaVinci Resolve 12パブリックベータ版での編集を練習をするために手ぶれ補正対決をしてみました。
昨日無料ダウンロードした、動画編集ソフト（ブラックマジックデザインのDaVinci Resolve 12パブリックベータ版を練習するために、手ぶれ補正対決映像を撮影して編集してみました。 今回の対決は、Canon XC10とCanon SX280HSです。最初に画角を合わせたつもりでしたが、撮っている間に設定が変わったようです。 Canon XC10のホットシューにSX280HSを取り付けて歩いてみました。 両方共HD映像です。何故かといいますと、Canon XC10はHD映像でなければパワーISを使用することが出来ないからです。 結果は一目瞭然、SX280HSです。本来はCanon…
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NAB 2015: Novedades
Los que seguimos de cerca las novedades del NAB, la feria mas importante del sector audiovisual, ya estamos casi acostumbrados a esperar autenticas “bombas” de los fabricantes para posicionar mejor sus productos en el mercado. Desde hace unos años, es el fabricante australiano Blackmagic quien dinamiza el sector con sus novedades, básicamente por su buena acogida de productos y sus ajustados precios. Recordemos el tirón que supuso el Cinema Camera, o al año siguiente la Pocket y la Production a 4k. A nivel de soft, su buque insignia es DaVinci Resolve, que a poco que me sigáis os daréis cuenta que es uno de mis softs preferidos, y que con un equipo de desarrollo de mas de 100 personas se encarga cada año de poner el listón mas alto con nuevas y mejores prestaciones. Este año tendremos la versión 12 del programa, y es que... de verdad, no se puede tener más por menos. Han optimizado el motor de audio, añadido multicámara, mejorado el entorno de edición, etc, etc, etc. En este vídeo podréis ver las novedades mas importantes, aunque si os interesa verlas todas con mas detalle y comparar las distintas versiones, lo tenéis aquí. Increíble es poco, sobre todo teniendo en cuenta que la versión gratuita es plenamente operativa. A nivel de soft de Blackmagic, destacar igualmente que Fusion 8 (también con version gratuita) se distribuirá para las tres plataformas más extendidas (Windows, Linux y Mac).
En cuanto a cámaras y dispositivos, la reducción de tamaño (una Cinema Camera para drones) y la apuesta por el 4k es la linea que han trazao los chicos de la “magia negra”. Su jefe (Grant Petty) nos lo cuenta aquí.
El resto de fabricantes también han hecho sus apuestas para el mercado. Panasonic ha sacado tres nuevas cámaras 4k que complementan la VariCam 35, aunque lo más destacando desde mi punto de vista, es la alianza de Avid y Blackmagic para crear hardware 2k/4k (será compatible tanto para soft de Avid como de Blackmagic), así como la version gratuita (aunque reducida de prestaciones) de Media Composer, Media Composer First, en la línea del esperado Pro Tools First que ya anunció Avid hace unos meses.
