What benefits brings 'Fixed Node Tree'?
In the world of professional post-production, where deadlines are tight and client expectations are constantly rising, efficiency becomes nearly as vital as creativity. Therefore, the key to success lies not only in vision and creative artistry but also in a well structured workflow. One of the essential tools in a DaVinci Resolve colorist’s arsenal for maintaining consistency and making fast adjustments is the so-called ‘Fixed Node Tree’.
WHAT ACTUALLY IS FIXED NODE TREE?
The concept of a ‘Fixed Node Tree’ is essentially a predefined node structurE, (usually) a ‘blank template’ in the Color tab. Instead of adding nodes ‘on the fly’ as the work progresses, you prepare a ready-made ‘tree’ where each node has a designated purpose, handling specific adjustments such as exposure, white balance, saturation, or masks. As a rule, these nodes do not carry any initial adjustments; they simply establish a framework and an order of operations. However, some may contain predefined values or settings, such as a linear gamma curve or a standard vignette. While some colorists utilize highly complex trees with multiple variations, others prefer a more streamlined approach, modifying them as needed for a specific project. From a broader perspective, a ‘Fixed Node Tree’ reflects a colorist’s personal workflow that typically evolves alongside their experience and shifting approach to color grading.
REPETEABLE STRUCTURE
So, what are the advantages of using a ‘Fixed Node Tree’? The first is obvious: instead of manually adding nodes one by one, you have a complete structure ready with a single click. This structure, especially for less experienced colorists, helps maintain a consistent workflow and a logical order of operations. Such an organized system is particularly valuable during the revision process, as it makes it much easier to locate the specific node responsible for a given adjustment.
A ‘Fixed Node Tree’ also facilitates muscle memory when using Blackmagic Design control panels, specifically the buttons for jumping to the next or previous node. However, there is one caveat: besides its custom label, every node has a specific index number, and the ‘next’ or ‘previous’ commands refer to that number. A ‘Fixed Node Tree’ should not be viewed as a rigid cage; you may need to add a node or a group of nodes within the tree during your session. Therefore, it’s worth knowing that under Preferences / User / Color, there is an option called Preserve node numbers when adding nodes. This allows you to keep the original numbering intact and any new node, even if placed visually f.i. second in the chain, will be assigned the next available higher number. This ensures your primary node sequence and mapping remain consistent.
AUTOMATION THROUGH RIPPLE NODE CHANGES
The aforementioned Preserve node numbers option is of paramount importance when utilizing the Ripple Node Changes function. Once adjustments are made in a specific node, you can use Ripple Node Changes to Selected Clips or Ripple Node Changes to Current Group (available in the Color menu or via custom shortcuts) to apply those changes simultaneously to nodes with the same index number across all selected clips or all clips within an active group. Furthermore, there are four distinct ripple modes available under Preferences / User / Color / Ripple Mode: Exact values changed, Percent value changed, Unit values changed, and All values are copied (a detailed description with examples of how each mode behaves can be found in the Manual, accessible via the Help menu).
In this context, although not directly tied to the ‘Fixed Node Tree’ itself, it is also worth exploring options for reordering thumbnails. By default, clips in the Color tab are arranged according to their position on the timeline. However, by navigating to View -> Timeline Thumbnail Mode, you can switch the order to SourcE (recording time). This is particularly useful because shots filmed sequentially usually share the same lighting and atmospheric conditions. When these shots are grouped together in the thumbnail view, using the Ripple function or even simple grade copying becomes significantly more efficient.
COLOR MANAGEMENT WITH FIXED NODE TREE
Calling it color management with a ‘Fixed Node Tree’ might be a bit of an overstatement, but if you manage color at the node level rather than automatically, a Fixed Node Tree or even a single ‘Fixed Node’ can make life much easier. For instance, you can have a node with predefined Color Space Transform (CST) values, such as a transformation from Sony S-Gamut3.cine / S-Log3 to DaVinci Wide Gamut / Intermediate. You can prepare numerous presets like this, not just for color management, but for any other functions that can be preconfigured to save yourself from repetitive clicking.
HOW TO CREATE AND USE FIXED NODE TREE?
A ‘Fixed Node Tree’ is essentially a still saved in the Gallery within the Color tab (Right-click the viewer -> Grab Still). Depending on which bin is active, it will land in either the Stills or PowerGrades folder. It is better to use PowerGrades (you can rename this folder to something like ‘Presets’), as they are accessible across your entire database rather than being limited to a single project. To keep these presets organized, the simplest solution is to create a text clip on the Timeline with a descriptive name (e.g., ‘Slog3 -> DaVinci Wide Gamut’) and then convert it into a Compound Clip so it becomes visible in the Color tab. Using a saved preset is then exactly the same as using any other still: double-click, right-click and select Apply Grade, or simply drag and drop it onto your node graph.
SUMMARY
There is a good reason why the ‘Fixed Node Tree’ is such an incredibly popular tool among colorists; it significantly boosts efficiency and provides a much needed sense of structure for those who are less experienced. Predefined node structures, preset values for manual color management, and the Ripple Node Changes function are wonderful examples of its utility, and they are just the beginning. It is well worth expanding your arsenal and building your own custom node structures to fully leverage the power of DaVinci Resolve!
DaVinci Resolve quick tips #6
Do you know how to automatically sync imported files in the Media Pool, efficiently gather client feedback, maintain original clip resolution while working in Fusion, achieve perfect sharpness in Color, or apply individual settings for different Timelines within a single project? You can find the answers to these questions in the 6th installment of DaVinci Resolve “Quick Tip” series!
AUTO-SYNCING FILES IN MEDIA POOL
When working on repetitive projects that use a structured folder system for media, or projects where media is still being delivered during the editing process, the Automatically Resync Media Files feature is an incredibly convenient solution. After selecting a specific folder in the Media Pool and right-clicking, the context menu will display the “Automatically Resync Media Files” option. Once enabled, the software will automatically respond to any changes made in the source folder(s). However, please keep in mind that:
- this feature works for imported folders, not for files added to manually created bins inside DaVinci Resolve (to use this, you should use the “Add Folder…” option in the Media Pool or drag and drop an entire folder from your drive),
- the imported folder must contain at least one audio or video file to trigger the sync,
- subfolders can also be synchronized, provided they meet the same conditions mentioned above.
THE BEST FREE WAY TO GET CLIENT FEEDBACK
Client communication during the editing process is a broad and often challenging topic; a lack of mutual understanding frequently leads to wasted time and unnecessary stress. While there are slick solutions available (like Frame.io), Blackmagic Design offers an increasingly powerful service called Presentations. Most importantly, Presentations is free, at least to a certain extent. How does it work? First, the creator needs a Blackmagic Cloud account and must create a Presentation within it. Then, in DaVinci Resolve, you need to log into this account (Preferences > System > Internet Accounts). Finally, in the Deliver tab, select the Presentations preset and choose the specific Presentation where the file will be uploaded after rendering.
The Client Side: As of version 19.1, clients don’t even need to create a free Blackmagic Cloud account. All they need is a link shared by the creator (the link is available on the Blackmagic Cloud website, just click the “i” icon next to the Presentation name in the left-hand menu).
Key Features and limits:
- the service supports up to 30 users (including up to 10 simultaneously) and a maximum of 20 Presentations,
- feedback can be provided live during a joint session (where time can be automatically synced for all users) or at any time by adding comments that appear as markers on your Timeline,
- the free tier includes up to 2GB of data, increasing storage to 500GB costs $7.50 (net), 1TB is $15 (net), and so on.
It is also worth noting that, for obvious reasons, Presentations is not the best tool for feedback regarding color grading, but it works brilliantly for almost everything else.
KEEPING ORIGINAL CLIPS (FILES) RESOLUTION IN FUSION
One of the undeniable advantages of creating compositions in Fusion is the ability to work with the clips’ original resolution. However, it is important to remember that this isn’t always the case, as there are scenarios where clips will be downscaled to the Timeline resolution. Here are the rules:
- Opening a single clip in Fusion using the “Open in Fusion Page” command from the Edit tab: The clip will retain its original resolution in Fusion,
- Adding a clip in Fusion via a Loader node or by dragging it directly from the Media Pool (MediaIn): The clip will also maintain its original resolution.
On the other hand:
- Creating a composition from multiple clips by selecting them in the Edit tab and choosing “New Fusion Clip” or “New Compound Clip”: This will force their resolution to match the Timeline resolution,
- Using an Adjustment Clip in the Edit tab: The resulting image generated from the layers beneath the Adjustment Clip will be limited to the Timeline resolution.
ADJUSTING SHARPNESS IN COLOR
In the Color page, the most obvious choice for image sharpening is the Blur – Sharpen tab. It features three main sliders: Radius, H/V Ratio, and Scaling. Quite often, likely due to how sharpening is demonstrated on many YouTube channels, users limit their sharpening process only to the Radius slider. Naturally, lowering it from the default value of 0.50 sharpens the image, while raising it above 0.50 adds a blur effect. However, it is worth combining the Radius adjustment with the Scaling slider. Frequently, a higher Radius value (e.g., 0.48) paired with an increased Scaling effect (default is 0.25) creates a more organic and pleasing result than simply pushing the Radius to a lower level (e.g., 0.47) on its own. The third slider (H/V Ratio), which is likely the least used, allows you to differentiate the sharpening effect between the horizontal and vertical axes.
INDIVIDUAL TIMELINE SETTINGS WITHIN ONE PROJECT
When creating a new project, the most fundamental settings include resolution, frame rate, and the choice between horizontal or vertical formats. By default, any new Timeline created within that project will inherit these global settings. So, how do you create a vertical version for social media within the same project? The answer is simple: in the Media Pool, right-click the specific Timeline icon and navigate to Timelines > Timeline Settings. By unchecking the “Use Project Settings” box, you can now enter custom settings for that individual Timeline.
20 new features in DaVinci Resolve 20
You may really say that DaVinci Resolve 20 is a real breakthrough, because the number of new functions and tools presented, especially those based on AI, is impressive! This was also confirmed by the first comments, which often included the statement that this is not an April Fool’s joke, but a real announcement of what the next free update offers. Of course, it should be remembered that this is a beta, and additionally, as we have heard, the program code has been largely rewritten, which with this number of changes may make it slightly less stable than the previous ones, but this is just a guess. As always in such a situation, it is worth emphasizing the need to make a copy of the database, because after converting to version 20 it will not be possible to return to 19. It is definitely better not to update during the project, and it is best to wait at least a little longer until a few minor updates appear. On the other hand, if someone has the opportunity to install the software on another computer, then you can test it now, because there really is something to do! Getting to the point, here’s a subjective list of the 20 most interesting new things with a short description. So let’s go!
TRANSCRIPTION IN POLISH (STUDIO)
Finally, the transcription tool in DaVinci Resolve supports Polish, which enables the use of many text-based features. So you can create subtitles, assign speakers, and edit the Timeline textually, e.g. trim clips by removing words and pauses, search for and replace words or parts of words with others, and all this in your native language! Before this works, however, through a new option in the DaVinci Resolve -> Extras Download Manager menu, you need to download additional files containing language packs, and then in Project Settings, in the Subtitles and Transcription tab, check the Enable Extended Language Support (beta) option.
SUBTITLES ANIMATION (STUDIO)
Following in the subtitles, which have become an almost integral part of vertical videos, the new AI Animated Subtitles feature lets you animate words as they are spoken, including changing the color of the words and adding a background. This gives the subtitles a dynamic feel, making them ideal especially for short videos posted on social media.
AUTOMATIC MUSIC SHORTENING/EXTENDING (STUDIO)
Feedback from a client asking to slightly lengthen or shorten a film when the current version perfectly matches the length of the music can keep an editor awake at night… But that will change! AI Music Editor will automatically remix the song to the desired length without difficult and time-consuming cuts or fades. You can set a specific clip length, or check the Live Trim option to manually set it. Phew, I think everyone was waiting for this!
MUSIC BEATS DETECTION (STUDIO)
Another new audio feature is AI Detect Music Beats. It lets you graphically display the changing rhythm of the music directly on the Timeline, making it a piece of cake to match cuts and effects to the rhythm. No more manual beat mapping!
AUTOMATIC AUDIO MIX (STUDIO)
Creating a professional mix, especially one that includes interview tracks, music, or sound effects, requires experience and time. Meanwhile, the new AI Audio Assistant, based on the analysis of these tracks and AI algorithms, promises to do it automatically! The tool will balance dialogues, music, and effects, saving hours of manual work and guaranteeing high quality. Will it really be like this? Who knows, but AI has surprised more than once. Probably in the first versions there will still be a lot of corrections, but either way, the tool can provide a solid base and save time, so it’s worth trying!
VOICE CONVERTION (STUDIO)
Voice conversion with AI Voice Convert, which offers both built-in and user-trained models, is another great new feature. Yes, you have to agree that it is a bit controversial, but then again, let’s take a situation where the interview was conducted in poor conditions, or there is a missing commentary (authorized by the author of the statement, of course!)… A voice generated or recorded and then converted can save the recording or save time and money on potential “re-shoots”. Of course, these are not completely new features on the market, but so far they have only been available outside of DaVinci Resolve and usually involved additional costs.
DIALOG MATCHER (STUDIO)
And another AI-related innovation related to sound! Dialogue Matcher, because that’s what we’re talking about, matches the characteristics of the recording, including tone, level, and even reverb. It’s a tool perfect for equalizing dialogue recorded in different conditions and using different equipment, ensuring smooth and uniform sound.
KEYFRAMES AND CURVES EDITOR IN CUT/EDIT
Until now, almost every edit using more advanced dynamic changes based on keyframes ended in the Fusion tab, where the Spline Editor is available. Now, a completely redesigned keyframe and curve editor is available in both Cut and Edit. A dedicated panel allows for precise animation and quick effect corrections. Keyframes can be edited both in the Timeline view and in the panel on the left side of the screen, which can also be freely moved and zoomed.
OPTIMIZED UI FOR VERTICVAL VIDEO EDIT
Vertical video is already commonplace, but there’s never enough editing space! That’s why DaVinci Resolve 20 has introduced an optimized interface layout in all main tabs. Now, editing for TikTok, Instagram or YouTube Shorts will be more convenient and intuitive, and the workspace will be better used.
MULTITEXT AND CHANGES IN TEXT+
DaVinci Resolve 20 also brings significant new features to the text tools. The program now lets you filter visible fonts by defining a list of allowed fonts, which allows you to limit your selection to only those that are approved for use, making them easier to manage. MultiText, built on the basis of Text+, lets you create and edit multiple text layers in a single tool. All layers are visible in the Text List panel, which remains available in all Inspector tabs. Both tools also have templates for creating text in three layouts: Point, Text Box, and Circle, which speeds up work with different styles of text; in the case of Text Box, there are options for automatic text wrapping and cropping to the boundaries of the box. Thanks to these changes, working with text in DaVinci Resolve has become more flexible and intuitive, and creating complex animations and text layouts much easier and faster.
VOICEOVER RECORDING
While voice recording was possible before, it now seems even easier and more accessible. The new Voiceover panel allows you to record voice directly on the Timeline, including the ability to preview text (Prompter), select the audio source, target track, quick return to the beginning, as well as Voice Isolation and Dialog Leveller tools.
MULTICAM AUTOMATIC ANGLE SWITCH (STUDIO)
The question of the possibility of using AI for multicam clips, in particular automatic selection of the speaker’s camera, has been popping up on internet forums with regular frequency. And now there’s Multicam SmartSwitch! It’s a huge time-saver for interviews, podcasts and live events.
SOURCE TAPE IN EDIT
The Source Tape feature, while potentially interesting, hasn’t had many enthusiasts so far, probably because it was only available in the Cut tab. Well, it’s finally made it to Edit. Of course, it lets you browse all your footage as a single “tape,” making it easier to quickly find the perfect shots. It’s worth a try!
COLOR PREVIEW IN FUSION
The Fusion and Color tabs, due to their different image workflow model, present, to put it mildly, a somewhat rough friendship. However, changes like this one can definitely change that a little! In DaVinci Resolve 20, you can now preview an image containing effects from the Color tab. All you need to do is change the appropriate option in MediaOut.
CHROMA COLOR WARPER
The previously known Color Warper tool has gained a new option in the form of Chroma Warp. It allows, like the traditional Hue – Saturation grid, correction of hue and saturation. Nevertheless, working with Chroma Warp seems to be more intuitive and faster, and color manipulation, especially in Point to Point mode, more precise. It is worth testing!
AI MAGIC MASK V2 (STUDIO)
Magic Mask was and still is a real game changer, turning the tedious rotoscoping into a much shorter and more user-friendly process. So what can we expect from version 2? The Magic Mask v2 code has supposedly been rewritten, which is supposed to result in even faster and more accurate tracking. Additionally, there is a brush option, which allows you to manually correct the mask area. So if there was anything to complain about in version 1, it seems we have an answer. It looks exciting!
AI DEPTH MAP V2 (STUDIO)
Like Magic Mask, Depth Map v2 has also been completely redesigned, promising better scene analysis and more accurate effects. It’s one of those options that’s hard to describe and definitely easier to see.
AUTOMATIC FILES SYNCHRONIZATION IN MEDIA FOLDER
This is a small novelty that could have gone unnoticed, but it makes the excellent Resync Media Files function finally fully functional! Namely, from now on, automatic file synchronization in a given folder, of course after selecting this option, also synchronizes graphic files and file sequences (e.g. Timelapse). A small thing, but makes you happy.
ALARM RED BACKGROUND MODE IN TIMELINE PREVIEW
And one more seemingly minor thing, but it will save you time and avoid unnecessary stress. It is known that in the heat of the editing battle, clips are often moved, enlarged, reduced, or rotated. There is therefore a certain risk that as a result of these changes, there will be a small area right next to the frame that is transparent and easy to miss in the preview. However, pixels from this area will turn black after export, which may not be so visible in full screen, but in social media with a bright background it immediately catches the eye. From now on, the red area of the “alarm” background may also catch the eye, which can be activated in the Viewer Background Settings menu, which will allow for correction while editing.
AI SET EXTENDER (STUDIO)
And the last twentieth novelty, although in this case it is a small exception, because it is not yet available even in beta, but announced for this year. It is the AI Set Extender effect, which allows you to intelligently extend backgrounds or scenography, filling gaps or enlarging the plan using AI. Perfect for VFX, virtual scenes or saving the frame.
SUMMARY
All the new features, and there are many more, have been collected and described in a document published by Blackmagic Design, so it is worth reading. Everyone has an individual workflow and maybe other functions than those presented here will be more to their liking? Nevertheless, it is easy to notice that a large part of them are only available in the Studio version, so this is another reason to consider buying! And once again as a warning – a database backup is mandatory before updating, because after converting to version 20 there will be no going back!
Finally, although version 20 makes an incredible impression, let’s not forget that the DaVinci Resolve program already had a lot of tools supporting film post-production at virtually every stage. So if someone would like to expand their knowledge with both these new and previously available tools, Kaktus.studio offers individual classes, more information can be found here.
Building visual contrast
Visual contrast is a basic tool that filmmakers use to create image aesthetics, strengthen the narrative and influence the viewer’s emotions. In the simplest terms, contrast means a juxtaposition of elements that differ in terms of visual characteristics. Although it is often associated only with the relationship between dark and light parts of an image, in reality contrast is a much more complex concept that offers a lot of creative possibilities.
WHY IS CONTRAST SO IMPORTANT?
But let’s start by answering the fundamental question: why is visual contrast so important? Here are some of its most important features that will help you understand this:
- Attracts attention; our eyes naturally gravitate towards elements that stand out from the surroundings. Contrast helps focus the viewer’s attention on what is most important in a given scene. It may be a hero, a group of heroes, an object serving the narrative or an advertised product.
- Creates depth; the contrast between light and shadow, light and dark areas adds three-dimensionality to the image and makes it seem more realistic.
- Establishes a hierarchy; Thanks to contrast, we can highlight the main object in the frame and subordinate other elements to it.
- Expresses emotions; different types of contrast can evoke different emotions in the viewer, e.g. a sharp contrast of light and shadow can build tension, while delicate tonal transitions can create an atmosphere of calm.
- Creates style; the use of contrast in a global approach can also be the foundation of the visual style of a film, often being the hallmark of a given creator.
TONAL CONTRAST
Now let’s move on to different types of contrast that can be consciously and creatively used in practice. As previously mentioned, the term most associated with this is tonal contrast, i.e. the difference between dark and light parts of the image. It is worth mentioning that the human eye has fantastic adaptive vision capabilities that are currently unattainable for cameras, and even more so for TV or computer screens. Although the tonal range of the displayed image is significantly increased by HDR technology, it is not yet that common, at least due to hardware limitations. However, apart from purely technical matters, due to the visual sphere created by tonal contrast, the following stands out in particular:
- “High-key lighting” (so-called high key); this type of expression is characterized by scenes with low tonal contrast, bright and evenly lit, associated with happiness, hope and innocence.
- “Low-key lighting” (so-called low-key); the opposite of the above, i.e. scenes of high tonal contrast with strong, hard shadows and expressive lights, building an atmosphere of anxiety, mystery and drama.
Below: Ripley, season 1, source: Shotdeck
Tonal contrast is also related to the concept of exposure, especially the maximum brightness value for a given profile (e.g. S-Log) during production, because image parts above this value will simply not be recorded by the camera and even lowering the contrast in post-production will not allow it to be recovered.
COLOR CONTRAST
The color contrast is a much more sublime contrast than the tonal one, not always even easily or consciously noticed, but having an equally strong impact on the perception of the image. Here’s how you can get it:
- Complementary colors; they are an example of the use of the so-called color schemes that we can observe, from the most famous paintings to contemporary cinematography. Complementary colors are those colors that are opposite each other on the color wheel and their combination causes our subconscious to feel a visually pleasant contrast. We are therefore talking about pairs of orange and blue, red and green, yellow and purple, etc. The opposite may be the use of a monochromatic scheme, i.e. different shades of only one color. It is worth emphasizing that the use of appropriate colors should be planned already at the pre-production stage through the proper selection of clothes, scenography, etc. Of course, they can be modified to a greater or lesser extent in the post-production process, but most often it will be more time-consuming and therefore more expensive and will not always bring results. intended effects.
- Split toning; Color contrast can be obtained not only by direct juxtaposition of two or more colors in the frame, but also by modifying color shades depending on their brightness. Such a process is the so-called split toning, the most classic example of which is the so-called teal and orange. The image is modified in such a way that dark parts have a slight blue dominant (cold color), while light parts have an orange dominant (warm color). Of course, you can use another cold color instead of blue, and another warm color instead of orange. However, it is important, beyond legitimate creative choices, that skin colors remain neutral. And here again the issue of proper exposure comes back, because for the skin it usually has a value close to the so-called medium gray, which can be determined on a curve chart during color correction, and then introduce split toning below and above this value.
Below: Joker, source: Shotdeck
- Color dominant; Unlike split toning, regardless of the brightness level of given parts, a specific color dominant can be used that affects the entire image. The contrast obtained in this way between individual scenes and sequences is a procedure that can emphasize, for example, different emotional states or different periods of time and place of action (e.g. warm colors as positive childhood memories, or green colors as a state of illness or anxiety).
SATURATION CONTRAST
The viewer can also be influenced by varying color saturation. Intense colors contrasting with desaturated or monochromatic elements can indicate which areas of the image are most important.
Below: Schindler’s List, source: Shotdeck
SHAPES CONTRAST
Another type of contrast that can be used creatively is the contrast of shapes:
- Spicy vs. soft shapes; sharp, geometric forms can symbolize danger or precision, while soft, organic shapes suggest harmony or gentleness.
- Symmetry vs. asymmetry; symmetrical shots emphasize harmony and order, while asymmetry suggests chaos or dynamics.
TEXTURES CONTRAST
Diversity in textures and visual details is also important:
- Smooth vs. rough surfaces; textures can suggest differences between natural and artificial environments.
- Details vs. minimalism; frames full of details contrasting with empty spaces can draw the viewer’s attention to specific elements.
SIZES CONTRAST
The next element that creates contrast is the size of objects in the frame:
- Big vs. small elements; such contrast may emphasize hierarchy, importance, or a sense of scale.
- Character vs. space; a small figure in a huge landscape can symbolize loneliness or helplessness.
Below: Dune, source: Shotdeck
MOVEMENT CONTRAST
The difference between static and moving elements may also be important:
- Dynamic vs. static staff; Movement in the frame attracts the viewer’s attention, especially when it contrasts with stationary elements.
- Movement speed; the juxtaposition of fast and slow movements can enhance the dramatic effect. Interestingly, this does not always have to be related to the difference in the physical speed of movement, but, for example, to the focal length of the lenses used – the same movement seen at a longer focal length will give a much greater sense of it than at a shorter focal length.
SPATIAL CONTRAST
Another tool in building contrast is space:
- Proximity vs. distance; elements placed on different planes create a sense of depth.
- Open vs. closed space; open landscapes contrast with claustrophobic interiors, influencing the viewer’s feelings.
RHYTHM CONTRAST
And finally, even the editing itself can introduce contrast that affects the way individual scenes and sequences are perceived:
- Quick assembly vs. long takes; fast cuts build tension and excitement, while long, slow shots create calm or focus.
- Varied composition; the change between dynamic, “crowded” frames and simple and minimalistic scenes creates visual balance.
SUMMARY
As you can see, there are many different types of contrast building options that creators can use. The whole art is the proper selection of tools creating the visual sphere in pre-production, their proper implementation on set, and finally giving the final shape in post-production. It is worth emphasizing that although some contrasts, such as size or movement, are difficult to change once the material is recorded, tonal, color and saturation contrast can be successfully shaped thanks to the color grading options offered by DaVinci Resolve.
The whole truth about LUTs in film
After Rec 709, the next term that is used often in the world of film is the LUT table. Let those who have never used them be the first to use them… Exactly! LUTs are used by both beginner creators and large post-production studios. So what are they and why do they have a slightly bad reputation? More about this in this entry.
WHAT IS A LUT?
LUT, or Look-Up Table, is nothing more than a conversion table that changes the color values (RGB) in a given image. In other words, it corrects contrast, color, or both, allowing you to quickly make these changes during post-production. LUT files are most often in the .cube format, but there are exceptions, such as the .alf4c format for Arri Alexa 35 cameras or .vlt for Panasonic cameras. You can open them with a regular notepad and then it will turn out that the mentioned “table” looks something like this (of course, this is only a fragment):
0.041033 0.041033 0.041033
0.062173 0.038275 0.040764
0.081106 0.034035 0.040525
0.099236 0.027164 0.040322
0.116776 0.011288 0.040156
0.132918 0.000000 0.040014
In the table, we see rows of numbers that indicate the output value of the RGB channels, and each row indicates one sample. This particular appearance of this table results from several facts:
- This is a 3d LUT, which, unlike older 1d LUTs, allows to make changes to all RGB values at once, taking into account their interdependence.
- LUTs are based on the idea of sampling, which means that instead of storing output values for every possible input value, they take and modify samples at regular intervals, using a mathematical formula to estimate the values between them (interpolation). The input values are therefore “predefined” and only the output values are in the file.
- The number of input/output values depends on the file type; we distinguish 17x17x17, 33x33x33 and 65x65x65 LUTs, which means that on each axis there are 17, 33 or 65 regularly spaced samples, respectively.
MEANING OF GAMUT AND GAMMA
The idea of LUTs is quite simple, but in order for them to be well implemented, you need to be aware of a certain basic principle: the LUT is prepared only for a certain specific gamut and gamma of the input and output data. This information should be included in the title and/or header of the code itself, because it is crucial for the proper operation of the file! Here is an example: “# Creative transform designed for Davinci Wide Gamut Intermediate input and output.” Therefore, using this LUT, e.g. in the Rec 709 space, will give different or completely different effects from the intended ones, which is often the reason for misunderstandings and bad reputation.
TYPES OF LUTS
As previously mentioned, LUTs can be divided according to the complexity of the interaction (1d, 3d) or the density of the sample grid (x17, x33, x65), but now let’s look at their practical application. There are three types here:
- Technical LUTs: are used to convert between different gamuts / gammas, most often to normalize files in the so-called log to Rec 709. Such LUTs are often available free of charge from camera manufacturers (e.g. Sony). After using them, the image goes from faded and “flat” to much more contrast and saturated.
- Creative LUTs: this type is used to set a specific mood or visual style without changing the gamut/gamma. Creative LUTs can imitate the look of classic film stock, such as Kodak or Fuji, or give the image specific color tones that fit the aesthetics of a given project.
- Hybrid LUTs: As the name suggests, these are tables that combine features of both of the above.
A specific subtype of hybrid LUTs are the so-called Show LUTs. These are LUTs created by colorists specifically for cameras and used on film sets. Show LUTs help the director and cinematographer see a pre-colored image on the preview monitor that more closely matches the final effect. While they are mainly used to control appearance on set, they can also be a starting point for further post-production.
WHERE LUTS ARE ACTUALLY USED?
LUTs are used virtually everywhere we talk about digital image reproduction. Of course, we are talking about post-production programs, cameras and monitors. Monitors are probably an example of the rarest application, because only the highest-end ones are able to accept and use LUTs. They are professionally calibrated, e.g. to Rec 709 and gamma 2.4, and in combination with special devices or cards, such as Blackmagic Design Decklink, they create a reference set for accurate image work.
ADVANTAGES (AND DISADVANTAGES?) OF LUTS
The advantages of LUT tables certainly include:
- speed of work,
- repeatability of effects,
- ease of use.
And these three features are enough to make LUTs so extremely popular and widely used. Nevertheless, please remember that:
- in fact, they are not flexible at all, apart from the possibility of reducing their impact, nothing else can be corrected,
- they are designed for specific gamuts/gammas and if used contrary to their intended purpose, they may cause definitely undesirable effects,
- may be poorly designed or overly aggressive, especially when applied to 8-bit material, which may result in artifacts and/or banding.
SUMMARY
LUTs from reliable sources and used consciously are a powerful tool in the arsenal of a filmmaker, editor or colorist. They allow you to quickly and effectively adjust the color of your video, giving it a specific mood or restoring natural colors after recording in logarithmic color profiles. Such LUTs are not only used by professionals, but also created by them. On the other hand, we have countless sales offers of dubious origins of LUTs, which magically and with a few clicks are supposed to make the material almost straight from the camera become “cinematic”, which, combined with improper implementation in a given project, can result in truly tragic effects. LUTs are indispensable for use in both cameras and monitors. So what about post-production? Well, even the best LUTs, by their nature, have obvious limitations in matching almost any given image. For this reason, although in appropriate cases and with conscious use they will be a great solution, often it will be necessary to build an individual look based on tools that allow for any modification.
DaVinci Resolve quick tips #5
Do you know how to handle color grading of clips containing Fusion effects? Or how to effectively use the capabilities of Referenced Compositions? The answers to these questions, as well as other tips, can be found in the 5th release of the DaVinci Resolve “Quick Tip” series!
COLOR GRADING OF CLIPS CONTAINING FUSION EFFECTS
Due to the fact that you can complete a full project in DaVinci Resolve, including adding various types of effects in Fusion, the final color correction often includes a clip that contains these additional graphic layers integrated with the image. And this can be a big problem for the colorist, because during grading some elements, such as logos, should be isolated and left unchanged in their original form. How to solve it?
There is an easy way to do this; In Fusion, there is a standard Node called MediaOut1, which “releases” the video signal to the Color tab. However, you can add another MediaOut, i.e. MediaOut2, etc. (in the Inspector tab, MediaOut1 has a “main” index of 0, and MediaOut2 – index 1). We connect MediaOut2 to the Node in which the signal contains the elements that we want to isolate (this Node therefore has at least two signal connections at the output).
Whereas, in the Color tab, after mouse right-clicking, the following appears, among others: Add Source (the second source is the MediaOut signal with index 2), and then, after adding the Corrector Node, we connect this source to the green video signal input and once again to the blue Alpha signal input. This way you can correct separate image layers and combine them at the end via Layer Mixer.
EDITING CLIPS WITHIN COMPOUND CLIP
When there are several different layers in the Timeline that you want to uniformly influence through various types of effects or color correction, the option that works perfectly is Compound Clip. However, what should you do if, after creating it, you can’t add a Transition, because the Compound Clip is missing Handles, or you come to the conclusion that for some reason you would like to color correct individual Compound Clip layers in a different way?
Well, you don’t have to use Decompose in Place (the reverse of New Compound Clip), because another option in the right-click menu is Open in Timeline. Then the Compound Clip appears on a sort of “separate” Timeline, but with separated individual layers, which, for example, can be extended, which will then allow the entire Compound Clip to be extended and, consequently, to apply Transition in the Edit tab, or corrected separately in the Color tab. Then, when you click on the Timeline name in the lower left corner, you will return to the “original” Timeline and the Compound Clip will contain the changes you made.
POLISH LETTERS IN DAVINCI RESOLVE (WINDOWS)
In the past, using Polish characters in DaVinci Resolve (Windows) was problematic, not to mention very annoying, and involved various “methods”, such as copying and pasting from notebook. Fortunately, from version 18 there is no longer such a need! However, you must remember that in order for the letters ó and ź to work like the others, i.e. with the Alt+ shortcut, you must first remove or change the keyboard shortcuts that are predefined in DaVinci Resolve, i.e. Alt+o, Ctrl+Alt+o, Alt+x and Ctrl+Alt+x. The shortcuts are available in the menu at the top of the screen: DaVinci Resolve -> Keyboard Shortcuts.
FUSION / REFERENCED COMPOSITIONS AS UNIVERSAL TEMPLATES
A relatively obvious solution that ensures easy and quick use of repeatable elements in various DaVinci Resolve projects are Power Bins, in which, among others, you can place Fusion Compositions. However, if these compositions contain MediaIn, and these media are different depending on the project, then of course they need to be manually changed inside the composition, or… And here comes an option that is worth knowing! Well, in the Inspector window of a given MediaIn node there is a Media Source option, and one of the choices is Background. Selecting Background makes the composition potentially much more versatile, because then the clip that is directly under this Fusion Composition in the Timeline will always appear as MediaIn.
But what if such a universal composition would use several media sources at the same time? Then Referenced Composition comes to the rescue, a completely new option that appeared in the latest DaVinci Resolve 19. To create it, select all the clips that you want to use in this composition (which are also located on the Timeline directly above each other), and then right-click mouse button and select the Create Referenced Composition option. This composition will then appear in the Media Pool. Once it is prepared, it can then be copied to Power Bins and used in another project by selecting the clip from the topmost track on the timeline and the Referenced Composition in Power Bins, and then right-clicking and selecting the Link to Referenced Composition option.
In both cases, we are talking about “templates” which, in appropriate situations, can become very universal and definitely save a lot of time during editing.
What does Rec 709 mean?
Anyone starting work in the video production industry will quickly come across the term Rec 709. So what is it and what does it mean? Well, this concept can be considered both in a broader and a slightly narrower sense. The former means the international standard established by ITU (International Telecommunication Union) (Recommendation ITU-R BT.709) specifying the parameters of video signals for high-definition television. This standard contains a description of the color space as well as other technical requirements related to it. The last version of the document comes from 2015 (link here). However, a narrower approach, with which most people probably identify Rec 709, is the description of the color space itself under the same name.
WHAT IS A COLOR SPACE?
To fully understand Rec 709, you must first define what a color space even is. Well, it is a mathematical model that describes how colors are represented and organized in a digital system. In other words, a color space is a set of rules that determine what values numerically correspond to which colors so that they can be reproduced correctly on device screens. There are many different color spaces, apart from Rec 709, there are also sRGB, Adobe RGB, DCI-P3 and Rec 2020, and each of them has its own specific applications.
RGB COLOR MODEL
The common element of many color spaces is the RGB (Red, Green, Blue) model. This model is widely used in digital systems such as cameras, televisions, monitors and projectors. It is based on the idea that all colors can be created by the appropriate combination of three basic colors: red (R), green (G) and blue (B). Each color in the RGB model can therefore be expressed using three numerical values that represent the intensity of the red, green, and blue components. The range of these values is from 0 to 255 for an 8-bit image, and 1023 for a 10-bit image, which makes it possible to obtain millions of different colors.
The RGB model is an additive model, which means that adding the intensity of the primary colors leads to a brighter color. For example, if we combine the maximum values of red, green and blue, we get white. On the other hand, the absence of light (all RGB values equal to 0) results in a black color. The subtractive model mentioned in the case of film stock (or CMYK prints) behaves exactly the opposite.
RGB VALUES AND WHITE POINT
To ensure consistent color reproduction across different image display devices, RGB component values are precisely defined in the CIE 1931 chromaticity diagram. It is a two-dimensional chart showing the hue of colors that can be perceived by the human eye:
• Red: x = 0,640, y = 0,330
• Green: x = 0,300, y = 0,600
• Blue: x = 0,150, y = 0,060
Another very important value is the so-called white point. In Rec 709 it is defined as D65, which corresponds to a color temperature of approximately 6500 K. This is the standard white point used in most display systems, which provides neutral and natural-looking colors as in daylight. In the CIE 1931 chromaticity diagram, the values for D65 are:
• x = 0.3127
• y = 0.3290
COLOR SPACE VS. GAMUT
When discussing the topic of colors in the digital world, two key concepts often come up: color space and gamut. Although these terms are used interchangeably, they have different meanings and refer to different aspects of color management. A color space is a complete system that describes how colors are organized and presented in a specific digital environment. This is a mathematical model that determines what values are assigned to each color and how they are displayed on the screen. Gamut, on the other hand, refers to the actual range of colors that a particular device, such as a monitor, camera or printer, can reproduce in the context of a given color space.
DIFFERENCE BETWEEN REC 709 AND SRGB
Rec 709 and sRGB are often compared because they have similar characteristics, but there are a few key differences that result from their different applications. Both color spaces are based on the RGB model and have a very similar color gamut, but they differ in their application and parameters. Rec 709 was developed for television and video production, while sRGB is a color space created for computer graphics, digital photography and displaying images on websites. Rec 709 is optimized for transmitting video signals, while sRGB is better suited for static computer images. The key difference between these color spaces is the gamma value. Rec 709 most often uses a gamma of 2.4, which is standard for video production, while sRGB has a gamma of 2.2, which is better for displaying images on computer monitors.
REC 709 TYPICAL GAMMA
One of the key elements of any color space is gamma, a curve that describes how brightness values are converted into signals displayed on the screen. In the case of Rec 709, gamma is described as a function, although it is assumed to be 2.4. This is a standard used mainly in professional film and television productions, where the image is displayed in controlled lighting conditions, for example in dark cinema rooms. For bright rooms, the gamma may be 2.2. Another example of gamma curves are logarithmic curves – the so-called logs, more about which in another entry about S-Log.
REC 2020
The Rec 2020 color space is a newer and more advanced standard that replaces Rec 709 in the context of Ultra HD (4K and 8K) television and HDR (High Dynamic Range) technology. Rec 2020 offers a much wider color gamut and a depth of up to 12 bits, which means it can reproduce a greater number of shades, especially in the context of very saturated colors. This standard also offers a brightness range of up to 10,000 nits. Rec 2020 is certainly the future, but its limitation for now is the higher costs of production, post-production, transmission and even the receivers themselves.
SUMMARY
The Rec 709 color space, although its color range is more limited compared to modern standards such as Rec 2020, still plays a key role in the film and television industry. For this reason, knowledge of these basic concepts is crucial both in the production and post-production of all forms of video.
19 new features in DaVinci Resolve 19
The impressive, over two-hour presentation by Grant Petty, CEO of Blackmagic Design, during this year’s NAB fair brought many new products, from live production devices, cameras, to a new color correction panel and another version of DaVinci Resolve 19! A few days later, the emotions had subsided a bit, but the time allowed us to get to know the changes better and test them initially. As a result, this subjective list of the 19 most interesting new features in DaVinci Resolve 19 was created, along with their short description!
FIXED PLAYHEAD ON TIMELINE
The view of a centrally and rigidly positioned Playhead is known from other video editing programs. In DaVinci Resolve it was so far only available in the Cut tab, but now it also appears in the Edit tab. The option can be activated from the Timeline View Options menu on the left side of the toolbar.
PRECISE TRIM EDITOR IN THE PREVIEW WINDOW
Another option that was previously only available in Cut, now goes to Edit as well. It allows you to precisely move frame by frame with a preview between two clips that are connected to each other. To launch it, simply double-click between clips or select Trim Editor from the Trim menu. It is worth remembering the abbreviations “,” (comma) and “.” (dot) to move 1 frame left and right.
TRANSCRIBE MODE EDITING
In this case, we are talking about several new products, such as: detecting interlocutors in the transcription, assigning them names, trimming clips by removing words and pauses between statements, searching and replacing words or parts of words with others, or a column with a time code in the transcription window. All these new functions, together with the existing ones, seem to be a really interesting alternative to classic editing, increasing work efficiency in many situations, but unfortunately, from the perspective of a Polish editor, a big disadvantage is still the lack of support for our native language… It’s a pity.
CHANGE AUDIO CHANNELS IN INSPECTOR
Previously, to change the channel options for a given audio clip, you had to navigate to the Clip Attributes menu. Now it is possible directly in Inspector, in the File tab. Moreover, changes can also be made to multiple clips at once. Additionally, there is a visualization of the track and the ability to listen, also divided into channels. However, for now this option only works for clips still in the Media Pool, and not in the Timeline. However, the first update will most likely solve this problem, as Blackmagic Design claims that it should work in both cases.
BEZIER CURVES IN OPEN FX KEYFRAMES
Animating Open FX effects in Edit using keyframes is now also possible using Bezier curves. Obviously, “smoothed” effects usually look better!
COLORSLICE
Colorslice has appeared in the palette of tools available in the Color tab, between Curves and Color Warper. Some may already be familiar with similar tools previously available via DCTL plugins, but now it’s native. The principle of operation of Colorslice is to use the so-called six color vectors, or actually seven, because in addition to red, green, blue, yellow, cyan and magenta, there is also skin color. Within each vector (color), we can change its angle, but above all, its saturation and brightness (Density). Of course, there are also global sliders for Density, Hue and Saturation. Most importantly, this saturation is an emulation of the so-called Subtractive Saturation, which differs from the traditional Additive Saturation used standardly in Primaries and HDR palettes. Adding subtractive saturation does not increase the brightness of colors, allowing for more organic and cinematic effects.
STACKING NODES
In Project Settings you can now change the so-called Node Stacks (1 to 4) and even give them a name. This option allows you to display specific “parts” of nodes separately in the Color tab at the Clip level (e.g. Primaries, Secondaries separately, etc.), which, together with the group function, allows for transparent work, especially on very complex so-called Node Trees. The Node Stacks functionality can also be used creatively to copy and paste parts of corrections between clips.
FILM LOOK CREATOR
This new FX effect was already compared to a different, but external plug-in called Dehancer during the presentation of version 19. Unlike it, Film Look Creator does not contain ready-made presets with film tape emulation. However, its built-in options mean that you can practically build your own in one place, containing all the elements commonly perceived as the so-called movie look. You can therefore change the Color Space Transform and influence the image using numerous sliders, including: photometric exposure (Exposure), subtractive saturation (Saturation), or even introduce the so-called Bleach Bypass. In addition, options such as vignette, hallation, noise (Grain), and various formats (Filmgate) are available. Additionally, the effect includes an option that checks the applicability of the given settings in the context of the possibility of exporting to a 3D LUT table (3D LUT Compatible).
RGB MIXER CHANNEL NORMALIZATION
The RGB mixer is an underestimated tool that works great, for example, in difficult shots with a dominant light in a given color. Using it, you can benefit from, among others: Preserve Luminance option, which maintains the brightness level for all channels. However, if you wanted to make changes in a given channel without affecting the others and at the same time maintain the luminance level, you had to uncheck Preserve Luminance and manually compensate for RGB changes inside this channel. From now on, this changes thanks to the possibility of automatic normalization for each channel separately.
CLEANUP MULTIPLE CLIPS NODE GRAPH
Sometimes the structure of nodes in Color, e.g. after copying the entire correction from another clip, becomes disordered and not very transparent. This is easily remedied with the Cleanup Node Graph option, but if multiple clips are affected, the operation will need to be repeated for each one. In DaVinci Resolve 19, it is now possible to perform “cleaning” for many clips at once. Just select the appropriate clips and then right-click on the node structure field of one of them and select Cleanup Selected Node Graphs.
FACE REFINEMENT ENHACEMENTS
This tool now allows the detection of more than one person (face), but above all it allows manual tracking correction, keyframe interpolation and adds more options for face retouching.
COLOR MANAGED FUSION PREVIEW WINDOW
When using color management at the Timeline settings level, especially in the case of DaVinci WG/Intermediate as Timeline Color Space, despite various “manual” solutions, it was never 100% certain that the previews inside and outside Fusion were compatible. Now that’s about to change! Yessss…
MULTIPOLY
The new MultiPoly tool in Fusion allows you to create multiple masks and control them separately within one Node, which will greatly facilitate work, e.g. with rotoscoping. You will no longer need to create separate nodes!
UP TO 3X FASTER MAGIC MASK IN FUSION
Blackmagic Design declares that using Magic Mask in Fusion in DaVinci Resolve 19 provides up to three times better performance of this tool. Well, I guess this has to be taken as a good omen, especially since Magic Mask can be resource-intensive, but like few other tools it saves a lot of time when performing rotoscoping tasks.
INTELLITRACK
The new default tracking method in Fusion Tracker is now IntelliTrack. This is a new tracking method based on DaVinci Neural Engine, which according to Blackmagic Design is much more accurate than a “standard” point tracker. Well, it needs to be tested longer to be fully confirmed, but it is promising!
AUTOMATIC LOUDNESS CORRECTION (DUCKING)
Automatic correction of the volume of the soundtrack relative to the dialogue is one of the possibilities that everyone has probably been waiting for. Yes, it was possible to achieve this effect before using certain functions in Fairlight, but it was certainly not very simple and intuitive. In DaVinci Resolve 19 this has changed. Ducker is available in both Fairlight and Edit. The dialogue path is the Duck Source. If there is more than one, they can be combined into the so-called bus (Bus) and this is then the source. However, there can only be one path we want to influence (maybe this will change in the next updates?). The tool allows you to adjust the effect using several knobs, including: Duck Level, Lookahead, Rise Time, etc. Finally!
DIALOG SEPARATOR & MUSIC REMIXER
Both of these tools allow you to intelligently isolate and change the “components” of the audio track; in the case of Dialog Separator, we are talking about speech, as well as other background sounds, the echo effect or the so-called ambient. One note here; Dialog Separator only supports mono tracks, so the stereo track would need to be split into two separate mono tracks and the effect applied twice. In the case of Music Remixer, we are talking about layers of vocals, drums, basses, guitars and other sounds.
INTELLITRACK BASED AUDIO PANNING
The previously mentioned new tracking method can also be used in Fairlight, and the tracked people or objects can serve as a dynamically moving sound source, automatically creating a surround sound effect.
OTHER
Without going into details, Reference Fusion Composition, recovery of deleted Timelines from a backup, the possibility of purchasing a Studio license for up to one month, and the Replay option for live productions are also worth noting. Additionally, an interesting product related to DaVinci Resolve, especially for people starting their adventure with color correction, is the new Micro panel.
SUMMARY
Of course, these are not all the new features, there are definitely more of them, but some of them are reserved only for the Studio version (another reason to consider purchasing)! Also remember that at the time of publishing this entry, DR19 is in beta version, so various types of operational instabilities may occur. For this reason, working with specific client projects is already risky. The first update will probably appear in two or three weeks, and then the next ones. And the constant advice in every situation of this type; please make a copy of your database before upgrading as once it has been converted to support version 19 there is no way to go back to 18.6.
All the new products presented are another addition to the amazing range of tools already available in DaVinci Resolve, so I encourage you to also check out other entries in the “Quick Tips” series. And of course, if anyone would like to expand their knowledge during individual classes, you are welcome, more information here.
DaVinci Resolve quick tips #4
Last year, somewhat surprisingly, Blackmagic Design released version 18.5 instead of 19, which after leaving the beta was then updated to 18.6. The changes in the program this time did not involve the introduction of many new functions, but focused on performance, both in the context of existing modules and the significantly improved ability to work collaboratively in the cloud. It’s time to invite you to another portion of tips from the “Quick Tip” series!
EASY TO DELETE UNUSED CLIPS FROM MEDIA POOL
This is one of those new features that came with version 18.6 and it really makes life easier! The editing process can sometimes be… turbulent, and a lot of clips, photos, etc. appear in the Media Pool and do not end up in the Timeline. To organize the entire project before archiving or sending it, e.g. for color correction, you could previously use the Smart Filter function, but now it is much simpler, even trivial. Well, in the Media Pool menu (three dots) there is an option Remove Unused Clips… The algorithm takes into account all Timelines, including, among others: Compound Clips, Fusion Compositions, etc., and the entire operation, depending on the complexity of the project, may take up to several minutes. And that’s it!
CLEVER ACTION OF INSTANCE NODE IN FUSION
Work in the Fusion tab is node based, whose dense grid often scares and discourages novice users. However, such a system has many advantages. For example, by developing your advanced visual effect or animation, you can quickly come to a situation where, for various reasons, there is a need to use certain values (and possibly change them) in different places at the same time. No problem with Fusion! Here are the possibilities:
– another connection of the output of a given node and using it in an unchanged form, which is convenient, because all changes are made only in one node, although it is not possible to change between outputs,
– copying and pasting a copy of a node (Ctrl + C / Ctrl + V), which of course gives you the option to change any parameter, but it involves controlling all parameters (including those that have not been changed) within this new node separately,
– or copy and paste the so-called node instance (Ctrl + C / Ctrl + Shift + V), which also gives you the ability to change any parameter, but leaves the rest to be controlled by the “parent” node.
To make it more clear; after copying a node instance, e.g. Text1, an Instance_Text1 node is created and connected to it, as evidenced by a thin green line between them. You can also see it by opening the Inspector window, where the values of individual parameters are placed in special green frames. This connection consists in the fact that if, for example, the size of the text (Size) in Text1 is changed, Size in Instance_Text1 will also automatically adopt this value, and vice versa. This will happen until the given parameter is detached from its parent, which can be obtained by the Deinstance option (right mouse button next to the given parameter). Instance node gives many clever possibilities to speed up work, especially when the composition is to be saved for reuse in the form of a macro.
It is worth mentioning that the Expression function can also be used to combine the parameter values of different nodes, but it has a much wider application, so we will talk about it another time.
DOUBLE TIMELINE TO MAKE YOUR EDIT FASTER?
An extremely important beginning of the film editing process is always the proper selection of materials when importing into the Media Pool. In the classic way, the editor prepares an appropriate and logical structure of directories and places clips (or even sub-clips) in them, and only then begins to arrange them on the “main” Timeline. But why not go a step further and… first create separate Timelines for each directory, arranging materials on them at “different levels” depending on their “usefulness”, that is, e.g. on the lowest track 1 the clips, which only “possibly” can be added to the final edit, at the highest track 3 those, that are the best and must be included, and on track 2 those in between. This is, of course, only one way of the selection. This approach allows you however to use the possibility of adding a second Timeline (or possibly additional ones) to the interface during editing, and thus quickly switching between active Timelines and dragging clips to the “main” Timeline, which will potentially significantly speed up the entire editing process. How to do it?
In the Edit tab, at the height of the toolbar such as Selection Mode, Trim Edit Mode etc. on the left side there is the Timeline View Options icon. After clicking it, a menu opens, where one of the options is Stacked Timelines. It allows you to add additional tabs, i.e. Timelines (icon with “+”). There you can open Timelines created based on Media Pool directories. Importantly, Stacked Timelines also enables another option to add Timeline, but not as a tab, but as a second (next) Timeline visible simultaneously below the current one (this time the icon at the same height of the interface, but quite to the right, also with “+”). This is where you can open the “main” Timeline. This arrangement allows you to quickly switch between Timeline tabs from the Media Pool and drag the materials below to the “main” Timeline.
Is this an ideal way to speed up assembly? It certainly offers a lot of possibilities and is certainly worth trying, but in the end, the most important thing is the individual preferences of the editor!
MISSING CLIPS BY INDIVIDUAL CLIPS RENDER
Quite often a question arises on forums about the lack of some clips after rendering with the “Individual clips” option (as a reminder, Single clip means one file with “all” clips, and Individual clips means separate files). In the Deliver tab, just below the mentioned Single/Individual options, there are three tabs for Video, Audio and File settings. It seems that many people somehow do not notice them, because in the File tab you can make settings for the file(s). When rendering Individual clips and Filename uses: Source name in the File tab, different clips from the same source clip due to the same name will simply be overwritten. Just check Use unique filenames and that’s it!
Tilta Nucleus Nano II follow focus review
When Tilta presented the Nucleus Nano wireless follow focus set in 2018 as a more affordable alternative to the larger Nucleus M, it immediately gained popularity among creators who valued using manual film lenses while having a slightly smaller budget. Both the knob and the drive, thanks to their compact structure, could be used directly on the camera or gimbal, or classically together with the preview monitor when the focus puller was operating. In turn, the torque of the drive was nominally sufficient for use with most lenses. However, no products are perfect and Nucleus Nano also had its problems. Is the answer to them Nucleus Nano II, a model presented in spring this year, which is now also going on sale in Poland? It so happens that the original Nano has been used on Kaktus.studio sets for the last two years, while the new one has only been used for two weeks, but after such a short time one can be tempted to answer that it not only solves the problems of its predecessor, but also brings new quality! First things first.
BUILD QUALITY AND DESIGN
After removing the product from the protective case, the first impressions are very positive; both the drive and the knob seem to be well-made, solid and elegant. The drive, perhaps slightly smaller than the previous one, above all, no longer has an LED display, but has a physical button, a small lamp indicating the function and a knob allowing the gear to be rotated (0.8 m). And what is very important, instead of the problematic Micro USB port, it has two USB-C ports.
However, much bigger differences concern the knob. Although the new model has similar physical dimensions, it has black elements instead of wood, does not have a small white rim to mark markers and, above all, has a large touch screen from which you can control various functions of the device. The replaceable battery, which is now built-in, has also been abandoned. Additionally, there is a USB-C port on the knob, two, or actually three, physical buttons, and the back mount uses the popular NATO rail solution.
Additionally, the case includes a 15 mm shaft with a cage mount, a short USB-C – USB-C cable and an adjustable strap with teeth for attaching to photographic lenses.
NEW DRIVE
The problems I experienced when using the first version of Nano were primarily related to its power supply. Well, the Micro USB port was probably not the luckiest solution, for some reason the voltage that was eventually achieved was often only 5V, and I tried different cables and power banks. Only the purchased (and not cheap) Tilty cable and connection to the V-Lock battery allowed for higher values and, therefore, higher engine torque. However, I saw on the forum that some users still complained about working with lenses whose rims rotate with greater than usual resistance. Meanwhile, the new drive, according to the manufacturer, offers as much as five times more torque. It’s hard to check it objectively, but now you can even adjust the level of this “power” in the menu available on the knob, and I can say that even at the lowest level the engine works perfectly with Irix Cine lenses. Using the included USB-C – USB-C cable, higher voltage can be easily obtained from power banks or V-Lock batteries. The drive is even equipped with two USB-C ports, one of which can transmit voltage to a possible next drive.
Other users of the first Nano also indicated that after prolonged use, the brightness of the display decreased, making it impossible to read it and thus to set the appropriate communication channel. In Nano II, there is no display and the communication channel is selected via the dial menu. There is a light on the engine that indicates various functions, including: four operating modes: purple – focus, blue – zoom, green – aperture and yellow – other, a function probably intended to support the variable filters of the Tilta Mirage matte box.
Another problem, honestly I don’t know if it resulted from the operation of the drive or the knob, was the fact that both elements could not be located right next to each other, because then the set simply stopped working. This was frustrating, especially when shooting manually, when the knob mounted on the camera could necessarily be close to the engine. This problem no longer occurs in the new Nano II.
Finally, it is worth mentioning that there is a knob on the engine that allows you to move the gear, which makes it easier to adjust during installation, and a button that activates the pairing function with the knob, changes the operating mode or is ready to update the software.
NEW FOCUS WHEEL (KNOB)
It’s hard to say that the focus wheel of the previous Nucles Nano caused any specific problems, but most users will probably agree that the choice of a rather unusual battery for power supply and its charging were not among the advantages of the device. You can also complain about the rather narrow white rim for marking markers, or the unusual mounting that requires a special adapter… What does the Nucleus Nano II focus wheel offer? It turns out that in this case it is not even entirely precise, because it can control even two selected functions, e.g. focus and aperture (of course, with two motors)! Here are its most important features:
- built-in battery that allows operation for 20 hours (according to the manufacturer, in my opinion it’s more like 9-10 hours), with the possibility of quick charging via the USB-C port,
bright touch screen with access to many device functions (more on this later), - function button, which, among others, starts lens calibration or adds a marker,
- function button to start and stop recording,
- a button that turns on/off the physical knob adjustment limits,
- movable button allowing you to control the second drive,
- mounting to the NATO rail on the back of the knob.
The new Nucleus Nano allows you to forget about unusual batteries and their charger, fully charging the internal battery allows you to use Nucleus practically throughout the entire shooting day. Additionally, the touch screen indicates the charge level, and thanks to the PD Fast Charging function, it can be instantly refilled during a break.
The touch menu provides a whole host of functions that were not available before, including the previously mentioned engine torque adjustment. It’s hard to mention all of them here, I haven’t tested all of them, not all of them seem to work anymore and this will probably change with the next software updates, but it is definitely worth emphasizing the following:
- possibility of marking with “electronic” markers; when crossing a given marker and changing the position of the knob, a vibration is felt (also with adjustable strength), which makes sharpening much easier for operators working alone,
- possibility of marking the range with hard limits, which in the case of some lenses allows for more smooth changes, e.g. focus,
- ability to change the direction of the knob,
- possibility of, among others: start/stop recording and change aperture, ISO and shutter for selected camera/camcorder models,
- ability to remember calibration parameters for specific lenses,
- ability to change display rotation, brightness and dimming time.
COMPATIBILITY
Another advantage of the new Nucleus Nano is its compatibility; According to the manufacturer, the set works with Nucleus Nano N (I tested and confirm), Nucleus Nano M, as well as with DJI RS2 and RS3, and with selected models of cameras and camcorders (list updated on the Tilta website). Additionally, another compatible product will soon be available – a special handle that allows you to attach the knob and control up to 4 drives in total.
SUMMARY
Starting from the end, i.e. from the price; At the moment, the purchase of Nucleus Nano II, the availability of which in stores is increasing, costs PLN 1,600, which is very comparable to the previous version. Taking this into account, and the fact that the new version not only solved the problems of the previous one, but also offered much more, it seems to me that this product is definitely worth recommending! Who? I think it’s mainly for those who just want to enter the world of film lenses and sharpen them manually. But even if you already have the first version, the functionality of Nano 2 and the possibility of using the previous drive as a second one is very tempting.