While editing this video I realized I made two mistakes: I suggest you completely bypass the external RGB masks and use the internal keyer to achieve largely the same result – but with more speed, more flexibility, and greater simplicity. Think: Resolve – Or why it’s faster to not replicate Photoshop’s workflow: It takes much more effort to replicate Photoshop in Resolve than it does to just ‘let Resolve be Resolve’.You learn how to do that in this Insight. How to invert your color channels using Custom Curves: In the comments to Part 1 of this series, Mike said he inverts the Red channel before applying the composite mode.You learn how to get a perfect Red, Green, or Blue channel in the Key Mixer. It also cleans up the node tree by eliminating the Splitter. How to replace the Splitter node with Resolve’s RGB Mixer: This allows you to quickly target just the RGB channel you want use as a mask.You going to learn three things in this Insight: Simplifying the Channel Mask Workflow with Photoshop’s ‘Color Range’ type Masks In this Insight we’re simplifying the Channel Mask and adapting this technique to the strengths of DaVinci Resolve. We built a DaVinci Resolve node tree, that isn’t intuitive – but does the job. He’s an aerial photographer moving from stills to moving images and is trying to replicate a common and useful Photoshop technique combining Channel Masks with blending modes.
In Part 1 of this series, we used a question (plus terrific footage) from Mixing Light member Mike Fizer. Part 2: Refining Our Channel Mask & Completely Rebuilding It, Resolve-Style
Luminosity and Channel Masks In DaVinci Resolve.Tutorials / Luminosity and Channel Masks In DaVinci Resolve / Adapting Photoshop ‘Channel Masks’ to DaVinci Resolve Series
0 kommentar(er)
