The still store. With just a few clicks I can store and recall a still extremely quickly on my control surface, then wipe and reposition it to compare with the current shot I’m working on. Resolve's tracker automatically picks points for you after you stick a vignette on what you want to track.Ĭolor uses a manual tracker which is often extremely slow. I used it as a last-ditch effort, usually opting for keyframing instead in the interest of speed. I hardly used the tracker in Color, partly because it was a manual tracker and also because it was painfully slow. The tracker in Resolve 9 has been improved even more, where you can select part of the track that messed up and retrack just that section, or manually modify it. Resolve picks points automatically, which means that I rarely need to redo the track. This completely changes the way I grade, as I can key more aggressively and know that the keys can be constrained with a tracked matte. The tracker. When I demo Resolve, even seasoned graphics guys are stunned at just how well Resolve can track. I want to highlight some of the biggest features that save me a lot of time in most sessions.
As a working colorist frequently in a time crunch (let's face it, every job), the features that allow me to shave a few seconds from a certain action add up in a big way even in a session that runs just a few hours. What can be assessed is the speed at which those results coalesce. Most of these clients are still holding onto the Color program in a similar manner as some editors are to Final Cut 7, with an attitude of "if it's not broke, don't fix it." Though one should be able to achieve the same grading results from both platforms, I do attest that my work is better in Resolve, but this can’t be easily measured. One of my biggest challenges outside of sessions is explaining the value of this system to new or potential clients. Now, with Resolve 9 nearing its official, non-beta release, Blackmagic has separated itself even more from Apple's killed product. The client demand for color grading in particular, and a traveling station specifically, has grown my business at a rate I never thought possible. Having already been grading professionally with Color shortly after it was released, I quickly decided to invest in a traveling DaVinci Resolve Mac Pro tower. When Blackmagic released DaVinci Resolve on Mac it became more obvious that color grading was the next big wave. With the release of Apple Color several years ago, the once-niche field of high-end color grading trickled down to the average user.
This is a guest post by Tristan Kneschke.
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