DaVinci Resolve Course February 2013

We announce a new edition of our intensive DaVinci Resolve weekend course.

Blackmagic recently released version 9 of the rapidly popular DaVinci Resolve. This new version improves the interface to make it simpler and increases the power by being developed on 64b. After being acquired by the company Blackmagic and that this brutally reduced the price of the software (and also released a FULLY operational free version) Resolve has become the standard for many medium-high level postproduction companies, being also the natural replacement for Apple Color in color correction with Fnal Cut Pro X. It is a program designed by colorists for colorists, not only does it have powerful and subtle color correction tools at different levels. It also has numerous ways to carry out quick corrections depending on the material we are working with (film, advertising, documentary, etc) and the possibility of establishing different workflows with the most popular editors (Avid, FCP, Premier) or with tapes or files (Red, Arri Raw, etc).

A little gem of color correction that is now offered for free. Let’s hope that this kind of actions serve to show that a colorist’s salary should not be based on the price of the software he/she uses, but on his/her talent and experience.

TEACHER: Luis Ochoa

Luis Ochoa is a colorist, post-producer and director of photography. In recent years he has worked as a colorist in London, color grading projects for the LFS, and in Spain color grading feature films (Cecilia y Juan), documentaries (Por la gracia de Luis) or television (Tierra de Lobos). He has coordinated the post-production of numerous projects for the company Avid Technology and holds the ACI (Avid Certified Instructor) qualification. He has been giving post-production and color correction training in multiple national and international centers since 2004. Here you can see his colorist reel and his IMDB file

DURATION: 12 hours

PRICE: 280 ¤ (250 ¤ booking before January 5th) Applicable the “amigo promotion” and other discounts (not cumulative between each other)

WHEN: February 2nd and 3rd, 2013. Saturday from 15:30 to 20:30h and Sunday from 9:30 to 14h and from 15:30 to 18:00h (may vary slightly).

WHERE: Ondas Formación See in Google Maps If you need any kind of information, you can contact 709 MR by email or telephone (668840783).

COURSE CODE: RES56-020213

EQUIPMENT USED: DaVinci Resolve Lite 9 on Apple Professional workstations (one per student)

AIMED AT: Colorists, Avid and FCP editors, directors of photography, digital image technicians, producers, filmmakers, etc.

PREVIOUS KNOWLEDGE: Familiarity with the concepts of SD and HD video signal. Basic photographic knowledge. Basic knowledge of post-production and color. This course does not teach color correction theory or processes. It is a DaVinci Resolve software course.

CONTENTS:

• Differences Lite / full versions
• Databases, users, projects and configuration
• Introduction to DaVinci. Processes to be performed in DaVinci: Ingest, shaping, color correction and export.
• Preferences for projects, timelines and users
• Project and user settings: HD, 2K and 4K resolutions. Bit depth, luts, etc.
• Types of conformations and workflows: tape, files, EDL, AAF and XML
• Timeline Master, local and remote. Linked clips. Versions.
• Reference films
• Mixing frame sizes and frame rates
• Working in anamorphic or other PAR. Clip attributes
• Preparing a sequence for color correction in Avid MC and FCP 7
• Scene cut detection for full movie cutting
• Convert media clips
• Saving data on the screen, creation of dailies
• Correction by clip and track
• Use of LUTs, Where and when.
• I work with the Canon Technicolor Cinestyle profile.
• Basic editing tools. Forming problems
• Transitions, fast and slow motion
• Load audio from file or quicktime
• Import/export projects. Relink media
• Proxies
• RAW media development: Red Codec, Arri Raw, Sony F65 Raw and Cineform Raw
• Use of scopes measuring instruments: waveforms, vectorscope, histograms. Legal signal for television
• Full and extended screen mode
• Primary: dials, faders, curves. Log mode dials.
• Versions and groups.
• Autocorrections
• Format bands and safe areas
• Flags and makers for clip order
• Secondary: eyedroppers, presets and “curves”.
• Masks, Power Windows
• Defocusing and rescaling.
• Nodes, node types: serial, parallel, layer, outside, key, correction. outside
• Unmix mode.
• Working with high dynamic range HDRx RAW material from Red
• Dynamic corrections
• 3D Tracking. Stabilization
• Management of memories, stills and power grades, databases and imports
• Compare reference frames
• Light box mode
• Copy and paste corrections. ColorTrace
• Work process in color correction. Steps to follow and correction of common problems
• Composition modes and keys
• Generation of customized luts. Load luts.
• Final rendering. Easy setups for Avid, FCP7 and FCPX.
• Data level
• Flat pass
• Custom rendering. Render queue

For any information you can send an e-mail to info@709mediaroom.com