Curious about the new cam from RED Digital? In those post, we come to grips with the new monochrome only EPIC digital film camera.David Fincher is shooting his latest project with the RED EPIC Monochrome – a black and white only camera from RED Digital. I’ve not heard a lot about this camera, nor working with the footage but I thought I’d bring together some of the first interesting finds from across the web to help us all get to grips with working with the RED EPIC Monochrome.First Impressions of the EPIC MonochromeRedShark News, the blog of the Lightworks NLE, has an interesting post with their first impressions of the camera. This will be a three part series, including some footage, so check back in the coming weeks. I think the most interesting question is: Why did RED make it in the first place? Who wants a $42,000 dollar camera (brain only!) that can only shoot black and white images? Well Phil Rhodes from RedShark reckons its all because of Fincher.The short answer is that it probably isn’t to most people: it will always be a niche product. But as an end in itself, there is potentially no better way to acquire monochrome moving images. The slightly more complete answer is that RED made the EPIC Monochrome because David Fincher asked them to (for a production they apparently aren’t allowed to name).RED Monochrome Post Workflow – Overheard on TwitterI saw this conversation between London based Colorist Dan Moran and New York based Juan Salvo (of the Coloristos podcast) discussing a workable way to bring the RED Monochrome footage into the grade. Here is the conversation in full:Dan Moran @DanMoranColor – Anyone know what software does support it? Have a big music video shot on EPIC Monochrome, I guess to Redcine X I go!Juan Salvo @j_salvo – Think you need new redcine-xDan Moran – I have the new redcine x working its just painfully slow. Have to wrangle everything to dnxhd and dpx now grrrr!Juan Salvo – btw the new redcinex doesn’t allow red rocket decoding for monochrome. It’s all CPU. So u want to use fast CPU system and multithreaded processing in the batch export for best performance.Juan Salvo – There’s no debayering to do anyway! B&W baby. It’s the only RED camera that actually is 5k.Robbie Carman @robbiecarman – Yeah I guess I would hope that it would allow for faster transcodes even if debayering wasn’t happeningDan Moran – thanks for the tip man! Was just about to rip our red rocket card out to use on a MacPro!Dan Moran – It says 15 hours for a full quality debayer. I feel like I’ve gone back in time by like 5 years haha!Juan Salvo – I don’t the debayer quality makes any diff. Look to see if setting to good quality effects image.Dan Moran – just set it to 1/4 quality and its gone from 15 hours to 3 so it’s definitely effecting it somehowJuan Salvo – Are you downscaling?Dan Moran – I changed the debayer quality from full to 1/4 and that made the big differenceJuan Salvo – Did that affect resolution?Dan Moran – No idea to be honest. We have to get the DnxHD files out asap so just rendering those to 1080 23.98 36Juan Salvo – Yeah it won’t make any diff for DNxHD.Dan Moran – Just thinking about the final grade now. So used to being able to work natively. Boo! This is why I prefer Alexa no surprises!Juan Salvo – Do 2.5k dpx overnight. If you were on Mac I’d recommend 16bit ProRes444. It’s working quite nicely.Jason Diamond @jasondiamond @j_salvo @DanMoranColor @robbiecarman There is no debayer for monochrome epic but quality of res will pick diff res layer no?Juan Salvo – That would be my guess. But debayer quality (premium vs good) may affect processing time.Dan Moran – I’ll definitely check it out.Download REDCINE-X PROIf you want to download the latest version of REDCINE-X PRO (v16), which has been updated to support Monochrome footage, then just head here on the RED site. As Juan Salvo points out it is only supported as software decode only. RED CINE-X PRO is a free software download for working with RED’s R3D files. For tutorials on using REDCINE-X Pro check out some of these free tutorials from RED and this workflow blog post from Oliver Peters.
In this video tutorial you’ll learn how to create and track a screen replacement in After Effects!Need to promote a mobile app or game? An explainer video or demo video is a great way to showcase the new app in action.In the following After Effects video tutorial, you’ll learn how to replace the screen of a cell phone, iPhone, tablet or other mobile device with your own video content. This is ideal for demonstrating user interaction or showing off the design of an app, without having to have talent onscreen manipulating the device.The screen replacement effect is created by tracking live video using the tools that come packaged with After Effects (no third party filters or plugins required). Highlights of the tutorial include:Using the Warp Stabilizer to smooth camera motionUsing the Perspective Corner Pin Tracker to isolate the device’s screen‘Selling’ the effect by applying screen glow, beveled border and simulated light streaksThis is an intermediate After Effects tutorial and goes through the steps quite quickly. Some previous experience working in AE is suggested.[color-box color=”gray”]Video Transcript:This is Evan Abrams for Premium Beat.com and today we’re going to be creating a fake iPhone screen and putting the new graphics into it. It’s not that difficult and these things will go a long way, and I hope you find it useful.So once you’ve imported your footage into After Effects, go ahead and bring it onto a new composition. And the first thing we’re going to do is take this footage and we’re going to stabilize it. We’re going to use the warp stabilize VFX and this will automatically stabilize shaky footage. The result is going to be smooth motion; we like the smoothness to be at 25%. We like the method to be position scale and rotation, and in the advanced we would like to use detailed analysis and we’d like to set crop less, smooth more to 25. This will process automatically so you can go do something else while it happens.Now that your footage has been successfully smoothed out, the motion is less jittery and the things are less awkward to work with. So we’re going to take this comp, and we’re going to call it footage stabilized. Now we’re going to drag that onto a new composition and we will do our tracking in here. So I’m just going to block off the part of this comp we’re interested in, so it’ll be from here to about here; set your play head, trim the comp to the work area.And now instead of using any fancy trackers we’re just going to use the four-point corner pin. I’ll just trim this a little bit more. And we just need to track the four corners of this device and then export that information to a new comp.So the new comp we’re going to make is going to be 960 x 640, which are the dimensions of that screen. It’s important that you know the dimensions of the screen you’re replacing. So if you don’t know of your specific device you should Google it or measure it with a ruler, but as long as the aspect ratio is correct you should be fine. So we’ll call this screen content, and there we might as well make a place holder, so just make a new solid, perhaps; maybe make it white, maybe make a new solid, make it a little bit darker, put it on top of that, and then we can use something like venetian blinds, set it at ten, 45 degrees, 75 degree angle, just to put a little texture into this thing. So now we have some footage.So we have stabilized footage; and then stabilized footage No. 2 we’ll call screen tracked. And then here we have our stabilized footage and then we’re going to bring in our screen content above it. Good.So now we need to actually track these corners. So we’re going to go, track motion, and we’re going to go with a tracker type of perspective corner pin, which will give us these four dots. And now we just need to apply them to the corners. So we move point one up here, point two up here, and then point four and finally point three. And it can be helpful for you to make a note of where these are, because it’s not always easy to know which point is on which corner.Now let’s go back and make sure they’re all nicely nestled into the corner between the bezel and the screen area. Those all look good. And then we go into the options of the tracker using RGB; we are processing before match, we’re enhancing, and we’re telling it to stop tracking if confidence is below 80%. Hit okay, and then press play to track ahead. And it will do as good a job as it possibly can to track this up. Again, another automated process where if you set it up correctly and your footage is good you shouldn’t have too much of a problem. Okay, that’s done; it’s output a bunch of information.Now we’re going to edit the target, set it to screen content, hit apply, and then we can have a look at the type of damage that we’ve done here. So I’ll put the eye of this back on, and we’ll see if it’s even remotely close to where we want it. And it looks like it’s been successful. So that’s good; you’ve tracked something on there, but your work is not yet done because there is a lot that needs to be done to get this to look correct. We have to remove that disgusting green border there. We have to continue the glare up onto the screen; there are so many things to do.So first thing to do is to pre-compose this here; so Cntl-shift-C will pre- compose it, and this is tracked content, because we want to remember that this content is tracked to where it is. And we’ll just change its color here to be blue.And we’re going to need a few copies of this, so I’m going to duplicate it and one of these we’re just going to call regular content, and it goes above the stack of other content. This one we’ll just have to match its blurriness to match the blur level of what’s around it. So I can use the fast blur to do that, and I think a blurriness of two is enough, just so it matches.Now the next one under that is going to be a blurred glow, and on this one we’re going to set its opacity to be lower, like a 50, give it a fast blur– even a much higher fast blur of 25, so it starts to glow out on the edges. And depending on how bright your mimicking your screen to be that’ll change that value. So those two are done.Duplicate that again, put it down here, blurred glow two we’re going to change to a mode of add, because it’s much brighter and (? glow), and press glow level of 50, and transparency is perhaps lower, around ten. So now we’ve set up enough glowing to simulate a glowing screen coming out of this thing. So that’s all good.Now using blurred glow two we need to create a small border around here, so I’m going to duplicate this, set it below everything, and change its value here to be red. And what I’m going to call this is spillover alpha. And I’m going to use this to define the alpha of the spillover range. And I’ll do that by changing it from add to normal; then we’re going to change its opacity up to 100%. And I’m going to do a fill to it, and that fill goes above the fast blur. And then I’m going to apply a curve to this and that curves I’m going to put on the alpha. And then only to use that to just bang this out so that it is much larger; this will have to be smaller blur. You just have to make sure that it’s not going too far interrupting with things. So we’ll change the blur level down just so it fits in that area, a median zone, just around to cover up the green. So that looks good.So what we’ll do is we will duplicate the footage stabilized, and we’ll take the spillover alpha and we’ll put both of those up at the top. Footage stabilized we’re going to use the track mat of that alpha thing so that it is only this much that we’re concerned about. And then what we’re going to do is we’re going to use the key light to key out the green, so to select it in there. And then we’re going to go here to the screen mat, change this to hard color, so now there is kind of a glow that’s going to be coming over it. And this is in order to preserve things like the light streaks and the spillover so you can see how this is now starting to bleed over into this piece. And now we’re going to fast blur, about 25; that should do it. And change this from normal to add, and then change its opacity to say 10 or 25 or something around there.So when we go in and we start editing things in the screen content, let’s say we made this slightly darker by adding in a new solid, make it dark solid, when we go back here we can see these light streaks that are now over top of that, which are helping to really sell this image. So that’s a very important feature, depending upon what is on your screen content.So going back here we still have a bit of green that we need to deal with. So duplicate this spillover alpha and put this below everything. And we will now rename this to be color fix. And on here we have a bunch of effects that we don’t really care about except that they determine how big this is. So I’m going to pre-compose this, move all the attributes to the new layer, and we’ll call this one color fix. And now what I’m going to do is I’m going to change it to be an adjustment layer and then we can use this adjustment layer to make changes to the green here. What I like to do is use a hue and saturation and set it to colorize; make sure you have the eye turned on. And then you want to just colorize it to match with the area just outside, and it’s sort of like a yellowy brown there, and you know, maybe not as saturated, lightness not exactly the same. But you can use it to help make this fit in better with the piece. So there we go; so far so good.Now just go into your screen content, maybe punch this up to look a little more noticeable, or maybe have something that seems a little bit more appropriate, but all in, you are now done. You now have a screen that is tracked in there; you have light streaks over it, and it is very convincing. So now you just need to put in content, alter your glows a little bit depending on your scene, and you should be done. Everything’s stuck in well and you’re good to go.So this has been Evan Abrams for PremiumBeat.com. Hopefully you’ve learned a lot about tracking screens onto devices. One important thing to remember though is to make sure that device is displaying a chromatic green background which is easily done by taking a picture of it with your camera phone, or just downloading the image and then putting it on the screen, and that’s about it. Thank you so much for watching. Stop by at PremiumBeat.com and check out the blog for tips, tricks, and tutorials and After Effects and other applications. And of course come to PremiumBeat for all of your music and sound effects needs. I’m Evan Abrams, follow me on Twitter at ECAbrams and come back next time for more stuff. Thanks for watching, and I’ll see you around the Internet.[/color-box]
Vimeo releases a new handbook full of marketing tips for DIY filmmakers interested in selling their videos online.Vimeo made a big splash at SXSW 2013 when it announced Vimeo On Demand. This new service didn’t discriminate; it was left completely open to all filmmakers, giving the community a place to upload and sell their work. Now they’re taking the outreach one step further with the release of a handbook to aid filmmakers who are looking to sell their work online.Inside the handbook, you’ll find marketing material, pricing advice, and description guidance for both single works and complete series. The handbook also offers advice on how to properly customize and properly promote your Vimeo page. The advice and guidance is solid, and it can all be found on this handy PDF.In other Vimeo news, the company struck a deal with Machinima that brings the website’s 30,000+ content creators to the Vimeo On Demand service.“Vimeo On Demand offers video creators complete control over their content and better economics by distributing directly to fans with a paid model,” said Kerry Trainor, CEO, Vimeo. “We are very excited to put the Vimeo platform to work for Machinima’s global talent community.”Variety’s Todd Spangler reported that Vimeo is “committing at least $500,000 to develop original content from Machinima creators that will be distributed exclusively on Vimeo.” You can read Spangler’s full article here.Have you found success with Vimeo On Demand? Do you plan on using the tips and tricks found in the new Vimeo handbook? Let us know in the comments below.
Here’s a few tips for translating your creative vision to the big screen.Have you taken a film or video project from conception to completion…only to find yourself unsatisfied with the end result? Here’s a few reasons your projects may be falling flat.1. You Focusing on the Details, Not the Big PictureWhen it comes to filmmaking there is a lot to remember and we are afforded the opportunity to learn something new every time we shoot. In a way, creating a film is a lot like a flexible checklist. While you would never say it out loud, the thought that’s probably going through your head on-set is something to the effect of:Composition, Check.Depth of Field, Check.Continuity, Check.Stabilization, Check.Focus, Check.Actor’s Delivery, Check.Motivation, Check.Etc, Etc, Etc, Check, Check, CheckIt can be easy to compartmentalize the production process and fall into a series of checklists, but this can be extremely harmful to your end result. The beauty is not in the details, it’s in the finished project. If you’re busy focusing on small stuff like script formatting, and not the script itself, you’re going to be disappointed.2. You’re Putting to Much Emphasis on the Craft Instead of the StoryWe talk a lot about gear here on the PremiumBeat blog and rightfully so, it’s fun to follow gear. New cameras, lenses, and equipment releases are exciting. But one rut that new filmmakers tend to fall into is focusing way to heavily on the gear and not the story at hand.Sure having an impressive 2 minute long tracking shot is cool, but how does it fit into your narrative structure? Have you spent more time focusing on the gear than the characters in the film?Having cinematic quality footage is important for keeping your audience engaged, especially if you are trying to prove your legitimacy, but we live in an age of progressing technology. If you want your film to have real staying power, focus more on the story. It’s easy to forgive a film with average cinematography if the story is solid.3. It Wasn’t Feasible Given Your ConstraintsIn a perfect world you can simply come up with any idea and have the tools available to see that idea through. Realistically there are many limitations to an indie-film budget. Recognizing these limitations, and creatively working around them, is vital for creating a believable film.Don’t bite off more than you can chew. Sure, you should push your creative limits every time you make a film, but have reason when considering a new idea. This is a tough pill to swallow especially if you are a passionate filmmaker, but setting unrealistic expectations will only leave you disappointed.4. You’re Not Hiring the Right CrewHaving a solid crew is vital for creating a good film. If you are forced to pick up the slack from other crew members it’s going to show in your end result. One of the biggest things to look for when choosing a crew is attitude.It’s not uncommon in this industry to work with people with pride issues. Avoid them like the plague! Ultimately poor crew members will distract you from the story at hand. To learn more about this check out our ‘Traits of a Good Crew Member’ post.5. You’re Not Communicating WellCommunication is your most powerful tool as a filmmaker. How well your creative vision comes to life depends in large part with how well it is communicated to your talent and crew before, during and after production. Spend the time before the camera rolls to make sure that everyone involved is ‘in-the-know’….and this isn’t just limited to just the story and how you invision the final product. Communication around the logistics of production can make or break your project. Use a call sheet, use a camera log, and stay organized.6. You’re Skipping Over Pre-ProductionThere’s nothing sexy about pre-production – except storyboarding (I love a good storyboard!). It can be easy for filmmakers to skip over this aspect of the filmmaking process and into production. Create a detailed shot list, storyboard scenes if necessary, set realistic production timelines and finalize your budget.Take the time to personally visit all the locations you’re planning on shooting. Did you obtain any necessary permits or forms to shoot at that location? What is the lighting situation? Where is power located? You must know these things well in advance of your proposed shoot date to allow time for change of location if necessary.7. Your Creative Vision is MuddyIs your idea fully baked? It’s easy to fall in love with a story idea, but you need to validate it early.How well vetted is your script? Is the story confusing in any way? If you’re too close to the project and story you may not recognize it’s weaknesses. Seek brutally honest feedback.Successful filmmaking is collaborative filmmaking….nobody wants to work with a dictator. Settle on a vision early and then have others poke holes in it, finding flaws with the story, the production plan and the overall vision. Revise the plan and repeat. Your creative vision may not be the same as it was when you started, but you’ll be the better for it.Want more creative inspiration? Check out a few of the following links here on PremiumBeat:5 of the Greatest Cinematographers for Creative InspirationFeature Filmmaking: Creative Problem SolvingStop Being Original and Start Being InnovativeHave any tips for seeing your projects through? Share in the comments below.
Canon adds two new DSLR cameras and a new mirrorless body — all under $1,000. Don’t expect to shoot video in 4K.All images via Canon.Canon has just announced the arrival of their new DSLR cameras — the EOS 77D and Rebel T7i. Also joining the camera lineup is the Canon M6 — the latest mirrorless body from Canon. These cameras will hit the shelves in the coming months with a few stand-out features.The DSLR bodies are very similar, including the sub-$1,000 price point and the lack of 4K video. These cameras improve upon their predecessors in a few ways, but many features remain the same. Each of these cameras is absolutely fine. Not great. Not cool. Just fine.Canon 77DA seemingly mild step up from the Canon Rebel series, the 77D’s target audience is the beginner photographer/videographer. Like the 80D, the new camera will have a 7,650-pixel RGB+IR metering sensor and offers anti-flicker mode to help deal with artificial lighting. To distinguish itself from the Rebel series, the 77D will feature a top LCD screen so shooters can see their settings while taking photos or recording video.If you’re trying to decide between the 77D, and the 80D, just remember, the 80D only reaches 16,000 ISO, whereas the 77D has an ISO of 100-25,600 — and 6 fps shooting capability. Both are solid cameras for new video professionals. Choosing one over the other just depends on the type of shooting you’ll be doing.Canon 77D Specs: 24.2 MPS CMOSDual pixel AFHD 1080p video up to 60 fpsDIGIC 7 image processorExtra control dialISO 100 – 25,600Back button focus1.1 lbsBody Only Price: $899.99Canon Rebel T7iThe T7i is a significant step up for Rebel users, offering greater accessibility to its interface and shooting modes. In live mode, you’ll be able to see how changing the settings affects the image. This will help first-time shooters learn how different exposures can change your image. Canon is also pushing the camera’s auto-focusing capabilities.Once you’ve lined up the shot you want using Live View on the LCD touchscreen, there’s virtually no wait for the camera to focus thanks to the EOS Rebel T7i’s Dual Pixel CMOS AF which helps deliver the world’s fastest autofocusing speed at 0.03 sec. Equipped with phase-detection, it can quickly and accurately determine how far away an object is and where the lens should focus, and offers fast, smooth and precise autofocus that stays locked onto your subject, even if your subject is in motion, for both photos and videos. Both cameras offer Wi-Fi, NFC, and Bluetooth capabilities for when you want to shoot wirelessly. Canon also announced a forthcoming wireless remote called the BR-E1, which will be compatible with the 77D and the T7i.Canon T7i Specs:24.2 MPS CMOSDIGIC 7 image processorHD 1080p video up to 60 fps3.0″-inch touch screenUp to 6 fps shootingISO 100 – 2560045 AF points1.078 lbsBody Only Price: $749.00Canon M6Canon clams that the EOS M6 requires virtually no wait time when capturing action-packed moments. The video capabilities are similar to the previously mentioned DSLR bodies — HD 1080p video up to 60 fps. The M6 captures footage and stereo sound in MP4 to save space and has a touch screen auto-focus setting.The M6 is compatible with the full line of Canon EF and EF-S lenses.24.2MP APS-C CMOS SensorDIGIC 7 image processorHD 1080p video up to 60 fps3.0″ tilting touch screen LCDBuilt-in Wi-Fi with NFC, BluetoothDual Pixel CMOS AFUp to 9 fps shootingISO 25,600Combination 5-axis image stabilizationBody Only Price: $779Would you consider purchasing one of these cameras? If so, which one and why? Share in the comments below.
A good shoulder mount is a cinematographer’s best friend. So what should you consider when looking for one?When I first started out in film and video production, it felt like all my projects were either handheld or on a tripod. This, of course, meant that every shot was either incredibly shaky (and very distracting), or it was simply static and uninteresting. The world changed for me when I discovered shoulder mounts.For my small, run-and-gun productions, this really opened doors in terms of composing shots and adjusting by simply moving my body, rather than picking up a tripod. It also added more complex camera moves like pans, tilts, and all types of motion in a way that looked much more steady and professional.These days, camera mounts come in all sorts of shapes. Professional Steadicam setups are commonplace, and most audiences expect to see a good blend of smoothness with other types movement.When choosing a good shoulder mount, whether for the first time or the hundredth, there are some key elements to keep in mind.Comfort and Ease-of-UseImage via gnepphoto.The first thing I’ve always looked for is comfort. How does your shoulder mount feel? If it’s heavy or pokes you awkwardly, that’s not a good sign. Many options these days come with built-in padding (which you can also add yourself, but it’s much more reliable when it’s part of the original design).The second thing I look for is ease of use. When you first pick up a shoulder mount, does it feel intuitive? Once you have it on your shoulder (or against your chest, or wherever), see how easy it is to make both small movements and long ones. If you’re lucky enough to live near a large camera store, you may be able to try out several in a row — in which case you’ll know instantly which one feels the best.AdjustabilityImage via Sundays Photography.But don’t let a first impression be everything. It’s hard to find a shoulder mount these days that isn’t at least somewhat adjustable. Many shoulder mounts let you adjust almost every part of their setups. From working with camera mount plates to elements like length and counter weights, everything will need some degree of tinkering if you’re serious about creating an ideal shoulder mount.In this case, if you get a chance to take one home, or buy one online to try out, take a few days to really see how adjustable it is and how much you can customize it for your body type and shooting style.Freedom of MovementUnless you’re working with a major cinema camera on a larger production with multiple people on a camera team, you’re probably not going to be strapping yourself into a Steadicam suit for every shot. Unlike, say, a free-standing gimbal with a complete range of motion, shoulder mounts are limited in some ways — especially if you need to keep pressure on a point of contact.However, for a shoulder mount to be perfect, in my experience, it’s best to find one that allows you a good mix of freedom of movement, both when standing still and when walking. However, it also needs to feel like a solid tripod when you’re stationary and need support.Could You Make One Yourself?Video via Film Riot.The final question before you invest in a shoulder mount is Could you make one yourself? The first shoulder mount I ever made was with my dad. We found a tutorial online then built one out of PVC pipe. It was pretty simple but also a lot of fun. To give it more cushion, we wrapped the entire shoulder mount with layers of electrical tape until it had a good deal of give.All told, it probably cost $15 and took just a few hours to build. Yet it worked for years and saved me a couple hundred dollars. While DIY projects aren’t for everyone, it’s worth considering when making your decision — or when working with shoulder mounts for the very first time.Cover image by gnepphoto.Looking for more video gear tips? Check out these articles.Buyer’s Guide: Shoulder Rigs From Cheapest to Most ExpensiveGear Hacks: DIY Camera Stabilizers and Rigs for Under $25The Best Camera Cages to Maximize Your RigGrip Tricks: Creating Do-It-Yourself Camera RigsVideo Tutorial: Build Your Own $50 Car-Side Camera Mount
The Face Refinement Tool allows for a quicker coloring process, while putting those tools into the hands of non-colorists.DaVinci Resolve is probably the most widely used grading program on any platform, in part because it’s free. Resolve Studio is a paid upgrade and includes some special features not available in the free version.One of the most helpful and powerful of these is the Face Refinement OpenFX plugin. It’s a tool that tracks a face in the shot, allowing you to grade that face separately from the other elements in the scene — making it stand out.To use Face Refinement, add it to a new node after the scene is equalized but before a LUT is applied. This’ll give you the most control over your image.Once the tool has found a face, it’ll run both forward and backward through the clip, tracking the face throughout the shot. Sometimes, it can get lost if you don’t start on an image where the face is clearly visible.Once the clip has been tracked, which will depend on your hardware speed, the tool lets you adjust — with a great degree of control — over just how it appears. You can adjust the entire face in regards to exposure, contrast, saturation, and tint. You can also adjust specific parts, like the brightness of the eyes, or even blur bags under the eyes, making them less visible.The tool even lets you change the color and saturation of the lips, cheeks, and chin — either removing makeup or adding bright colors — where they didn’t previously exist. This is much more effective and believable on closeups than it is on distant shots, but it can come in handy.The Face Refinement Tool doesn’t do anything that experienced colorists can’t already do with the tools that exists in Resolve; however, it makes the process a lot faster, without requiring hours for every shot.Interested in the tracks we used to make this video?“Highway Hunters” By Denis“Craving for Adventures” By Vincent Tone“My Old Piano” By Magnetize Music“I Found You” By Magnetize Music“Novation” By CaliLooking for more on DaVinci Resolve? Check out these articles.NLE Showdown: DaVinci Resolve vs. Adobe Premiere Pro — Processing PowerNLE Showdown: DaVinci Resolve vs. Adobe Premiere Pro — The CostLearn How to Fix a Variable ND Filter Vignette in DaVinci ResolveHow to Work with Different Frame Rates With The Same File in ResolveReview: DaVinci Resolve 16’s Cut Page — Is It Any Good?