DAVINCI RESOLVE LIVE - PARALLEL NODES ALL YOU NEED TO KNOW

okay and we are live good morning everybody or good afternoon or good evening depending to where you are um here we are in another installment of our davinci resolve live training so it's basically a series we're doing where we cover things that are um you know kind of questions we receive uh during our remote classrooms um and um something i kind of just really want to share with the wider colorist community simply because i think that some of these questions are really useful to everyone you know working as a professional colorist we try to go a little bit deeper here um than just like a quick tutorials you know on youtube you find normally we really try to dive a little bit deeper and understand the application and and and what's happening so today i don't know why but kind of you know i i received like a five or six emails and requests on facebook like you know to answer questions about parallel notes and um i i think on my last feature film class i did it um already but i kind of thought like well actually let's let's really explain it because there seem to be a lot of confusion you know what to do with parallel nodes how to use them should i use them like this like that and there seems to be also quite a conflicting information out there about it now i just really wanted to let you know that there isn't a really a right or wrong way of how to do you know how to work with it with color grading in general i mean you should always work you know the way you know you get the best results but i think that if you understand the mathematics the technology to what is really happening inside the application and why particular you know processor was created and it's going to be much easier to understand how to use it in the best possible way but i leave it totally to you how you want to use it i never want to teach hey press this and the rule is this i i i'm super open you know for you guys to break the rules and do things however you think it's the right way to do but what i can definitely show you is you know how parallel node was created um and what is really happening in terms of the mathematics and um really wanted to also show you how big hollywood colorists use parallel notes and um so i think that could give you all like a good indicators to what you might be able to do so hello i'm just going to kind of check a little bit who's with us tonight oh juan is here and julian and isabelle hello isabel from paris hi there so good to see you very nice hey eva is here very good hi eva oh my god okay i love it i love it when we kind of in this kind of impromptu kind of way we get everybody here and roberto my god my favorite tester and jay-z is here oh my god mr jay-z very nice jc we need to catch up again there's lots to talk um so let me start so i really wanted to show you a little bit um how everything is how they work to begin with so um i wanted to just explain to you the difference first you know to understand how um you know serial notes work so that we can understand the difference between the serial node and the parallel node um so what i'm going to do next is i'm just going to go quickly switch to my davinci resolve so um what i got here is actually um a uh oops let me show you this fantastic so and the desktop is here okay great so what i got here is two serial notes and what i have loaded here on my timeline is just a gray clip and the value of this gray clip is 512. and the reason why i'm using that is because it's like a 50 percent gray so it's easiest way for us to see really mathematically what's happening behind it okay so what i'm going to do first is i'm going to go on my first node i'm going to go and apply a gain of 2 and the reason i'm using gain is because gain is easiest to understand because it's using mathematical operation of multiplying so what i'm going to do is i'm going to multiply only red channel um in you know this you know processing tree by factor of two so i'm gonna go and lift my red to factor of two okay so basically what it means is like i'm multiplying my 512 clip by two okay now the result actually that we should be getting because 512 times two should be you know 1024 is not correct and the reason why it's not correct is because there is a feature in davinci resolve called luminance mix where da vinci is constantly trying to preserve the luminance the easiest way how to see how this feature works i'm just gonna go and switch my um viewer to yrgb viewer okay so what we got here is a y channel and then red green and blue so you see what davinci did in order to maintain the luminance level at 512 davinci has adjusted my green and blue channel in order to compensate for the you know rise in value of the red channel and so keep the luminance on the same level however if i was to go and switch off this luminance mix to zero right then i would switch off that you know why rgb color science this is very specific for davinci resolve and now i'm going to get the correct result so i actually i'm getting a result that when i multiply 512 by 2 i'm getting 1024 and then the other channels are staying untouched yet my luminous has gone up so you see the only difference is that that this kind of luminance mix is just preserving your luminance levels and it's important for you to know that because sometimes you do want to grade with the luminance mix 100 and sometimes you want to switch it off because you know you want to like you know maintain accuracy in terms of your rgb processing for the rest of the kind of you know exercise in order for first to get the right math without this kind of additional luminance level processing i'm going to keep it on zero so you see i got the correct results so i'm now 1024. okay the next thing i'm going to do i'm going to go the next node right and in this node i'm going to apply a gain of 0.5 okay so basically what it means is like i'm going to then multiply everything again but what's happening is the output of this node which is now 2 is going to be multiplied by 0.5 okay so what happens when we multiply 1024 by half is you know 512. so basically we should be getting then kind of you know this value that 512 however my luminance mix is again on 100 so when i turn it down bang we have everything looking exactly as it should everything is back to square one and this is what we expect in a float mathematics it's da vinci is using okay so what i'm going to do now is show you a little bit just you know how this works so what actually you know the formula is is that you know output is going to be calculated this input multiplied by gain 1 okay and then the output of that node is then multiplied again by gain 2. so let's see if we take the numbers 512 times 2 times 0 half is 512 so everything is working as expected so our mathematic how the serial nodes processors work is really matching to what is really happening inside davinci so this is actually very very very important okay now let's have a look at the parallel nodes what really parallel nodes do they have a different way of processing of course and this is the formula so the formula is in plus in times gain minus in plus in times game two minus in so before you know it just mathematic is a little bit complicated but let me actually show you like you know in the example and then it's all gonna go you know come you know a little bit you know together so one second what i'm going to do next is let me go back to my davinci resolve and now what i'm going to do is i'm going to go and open my parallel nodes so again i just have a 512. again i will be making sure that my luminance mix is on zero on both of those nodes so that i don't get this you know luminous preserving you know mathematical operation so let's go so on the first node i'm going to go and apply a multiply of two okay fantastic so now i'm getting the correct result isn't it so you know 512 is now catch this i'm going to now take the the node 3 and i'm going to now apply multiply of 0.5 here what happens is basically i am getting the value of 768. okay and that is actually correct you know because if we check with our mathematics now with our formula for parallel nodes the size have a loop is 512 plus 512 times 2 minus 512 right so this is again 512 output plus um minus 256 we're going to get 1024 minus 256 which is 768. we have here on davinci resolve also 768 as you can see so that's basically absolutely correct so the easiest way to understand what parallel nodes really do is that they combine your processors together before they create an output because you see what happens here when i'm basically doing um you know this um when i'm basically working like they said that i go like okay serial node i apply you know any any any operation and then i'm applying a next operation on the output of my previous node so basically we're in parallel nodes right what i do is i combine the operators together that's kind of the easiest way how to understand if the mathematical operation seems to be a little bit confusing so i will combine my outputs together before my operators together before i give an output there and and why do we have it this is always now the question like you know okay now that we understand you know the mathematics behind it so what is really happening why why we do why why where they were created and why to use them and the most important thing that you have to understand is that process of dodge and burn okay so the process of dodging burn is is especially in feature films and absolutely you know must to understand you know like you you also must have seen like you know how in stills photography when we were like doing you know the processing of still images when we were like you know brightening certain parts and and and darkening you know the others which it means dodging and burning what we do is we are combining the processors and levels together in order to create the right exposure i'm going to show you some examples on images in in a minute but i just really wanted you to understand the reason why parallel node was created is because that we can do dodge and burn that we can combine our windows for brightening and darkening together before we apply them to an image and so there is no actually limitation in parallel node whether you should use them for brightening and for darkening of course you see the map you know it's made for both for brightening and for darkening and it works absolutely perfectly accurate but what you have to understand is that when you dodge and burn the effect is not that you brighten something and that brighter image you bring down the process is that we combine our dodging and burning together before we apply to an image that is the correct visual result that we are trying to get now there is actually a historic historical kind of you know reason you know why i believe that davinci resolve did not have a parallel node to begin with but what's happened was this there is this colorist called steve scott and you guys must have heard it if you have been like you know working in this industry you must have heard his name um you know he has you know just go and check out his imdb and see basically what he created he is renowned for his immaculate process of dodging burning that he's applying to images and and he actually has sometimes team of people who are helping him creating those shapes and one interesting things about steve scott is that he's using a lustre for all of his grading and another interesting thing for you to know is that laster has entirely all nodes or all layers combined these parallel nodes so laster actually is working parallel only i think they might have added you know other ways of combining nodes but luster originally was only parallel nodes that was the only reason why and and and the reason you know why last year was selected because very early on you know some of the really big names in in color grading who you know jumped into this digital vi have adopted luster and so asked for this particular feature and that stayed and and and so so basically what we can say is that you know every movie you know that steve scott has ever finished was using parallel notes for you know to create that beautiful dodge and burn effect that he's very much renowned to and then i'm going to actually show you a little bit in practice how you can do this in um davinci resolve and then i'm going to show you also another you know very interesting thing to how we can work with it okay so i got here an image um you know that i it's like something from red camera and what i did is i have just applied here um a color space transform that goes from dragon color 2 to rec 709 and i'm using simple tone mapping and saturation mapping to come to some sort of you know rec 709 look okay so this is just my starting point i just really wanted to you know create a very simple you know look now what i'm going to do is i'm going to open another serial node um and then because i have a little problem with my black i'm just going to go and bring back some of that black there so that that black line is really sitting on zero okay that's the thing just the color science you know the color space transform that is doing something to it and then what i'm gonna do now is i'm gonna go and say okay open let's say three oops sorry i need to open another serial first so it's going to be alt s alt p alt p okay so now let's see how we're going to use this process of dodging and burning to help this image stand out a little bit more because certainly we have a problem you know within this shot and which is that it's completely backlit you know i can't see that there is maybe a little bit light coming here through some doors but you see that the key light is coming through the window and you know actress is you know in this you know like a kind of silhouette and and we want to just emphasize a little bit her facial expression you know in this case you know maybe director really the cinematographer wanted to have her here like this but we certainly want to help a little bit you know this effect so the first thing you're going to do so i am in a parallel node mode so that's kind of very important okay so the first thing i'm going to do is i'm going to go and apply um let's say a vignette you know always a vignette seems like it you know oh can we have a vignette it's a kind of regular thing that everybody's asking for all right so we're gonna go and apply vignette and then what i'm going to do is i'm going to go and just bring down a little bit gain i don't want my vignette to affect too much my shadows and crush them i just want basically you know to kind of darken a little bit the edges so that it kind of you know feels a little bit like that so this is really nice the next thing i'm going to do is then i'm going to go and apply another circular window now i am going to do that like this so that i basically get like a you know a little bit of a brightening here now you see what is really good now because i'm in a parallel node mode okay my window is certainly affecting now my other windows so you see they're combining themselves you see i have a here a vignette and now i have put a circular window kind of on top of it but it's not on top really they are getting combined so if i was to work in serial mode what would have happened is that then i would have now brightened these parts of already darkened image and you would actually be able to see a circular shape right but because i'm in a parallel mode i am just affecting the vignette so that the vignette is you know kind of subtracting itself a little bit from you know the circular window so that the combined result is really what dodge and burning would do so you see like now how how you know so what's really most important for us and the reason why we're doing it is that these windows are not visible you know we are not really like you know we can't really see them very well because they're combining themselves together before they get applied to an image so now what i'm going to do here is i'm just going to go and apply another like you know grad and this grad i want to emphasize more of that kind of key light so i'm just gonna put it like this right and on this slide i'm gonna go and maybe use a little bit offset because you know this is kind of you know where we wanna open up a little bit this side of the shot and again you see all we did is we have combined you know our three windows together and their output you know has become one processor then then gets applied to an image in the parallel fashion and that is the like goldust really that is how you can do beautiful dodging and burning right without you know having windows being slapped on top of one another okay i mean you know i can just quickly like you know you know just show you to what would have been happening is if i was to apply now the same results um but in basically serial fashion so i'm just gonna go and you know disconnect this and then i'm just gonna quickly you know connect this you know one after another right so look completely different result because what i'm doing is applying window on top one another on top another so you see so this window and now i have applied this one on top of it and then this one on top of it so the combined output is actually not the same which is not really what we want is actually not even a desired output to what we would normally get when we would like be getting together in the parallel nodes so this is one of the main reasons really you know why you want to do this there is also i want to show you a little bit more advanced way of how to do dodging and burning and that's something actually i'm going to be showing next week in our feature film class okay one second so um um i am basically um now going to go and just show you a little bit more advanced way um the other the advanced way is going to be this look so what i'm doing here is i'm applying the same color space transform you know just the one that we did okay and then what we're going to do next is i'm then using like a a matte effectively and then i'm applying my windows to the mat and then i'm combining that mat in parallel fashion and then blending it together with my original look so basically what's happening is this so you can see like you know this is like a little bit more advanced way of working you know with with dodging and burning so you see the difference in results so this is like a without windows and this is with windows and then i also show you this is basically the look that i had you know just by applying my my my parallel notes right and look at the difference here so actually you know it is really possible to you know use dodging and burning and parallel notes in a way to significantly improve the contrast response of your image and i tend to use it you know like this is sometimes even nicer result than just using curves you know because blending in parallel mode just kind of gives me a little bit better results you see this is my windows right and and now this is with this kind of you know a layered approach of how i'm basically blending all of those together um here again you know let me see like so this is another shot so what we would want to do here again is we want to go and open um a serial note and then what i'm going to do is i'm going to open after that a couple of parallels so that i basically combine them together so i'm gonna go and apply a little soft here so that i can bring her up a little bit that's beautiful and then here what i'm going to do is i'm going to go and apply a grad okay so let's do that here is the grad window and there i'm gonna go and just open up a little bit this side so that we get a little bit more light coming through on here and what i do sometimes as well as i color it a little bit so i'm just going to increase a little bit of temperature there so that you know it feels almost like a kind of sunshine coming through and then again unavoidable vignette okay so let me show you this so this is now the vignette i'm gonna go and invert this vignette and then i'm just gonna go and darken it a little bit like this perfect right so there we go this is now with our windows supplied much nicer shot um but also i really wanted to show you to what this would look like with a little bit more advanced you know approach i just probably need to apply a little bit more warmth to this shot so just warm it up a little bit like this okay this is good and now in full screen let's do this and full screen like this so check it out so this is kind of you know you know dodging and burning applied you know like with layers in parallel and you know this is basically you know the dodging and burning sorry i kind of switched my camera let's go back and we can so this let's go back to desktop and now this is basically my dodging and burning um just with the windows so check it out this is just the windows in parallel mode and this is just the layers so you see how you know it's possible again to get like i just just kind of i don't know i like you know our ability you know to combine you know our brightness layers in parallel node together and then output them and make them look you know just absolutely gorgeous like that i i i absolutely adore the results you know that you get you know from this kind of layer blending mode so here let me do this as well look at this shot here again i'm just going to go and and show you what it looks like perfect right so you just get this kind of gorgeous contrast and gorgeous blending you know that it's just very hard for and i to even notice that we have windows there but yet they have a huge impact on the quality you know of of our image okay so um uh before i continue on to the second um you know part i want to maybe just take a couple of questions to see if there's anything going on in the chat you know so uh what we got here could you show the notes are doing in advanced parallel option okay yeah i can do that um so in essence it's like creating one more complex window yes kyle this is a good analogy you are creating one window but think about it you're actually applying dodging and burning right you're like darkening and brightening certain parts instead of slapping these windows on top of one another this is really what's happening um so julian has asked me like a really how to you know show this advanced method so i really want to go through it you know step by step so that um you guys can actually see what i'm really i'm doing so i'm just going to go and maybe switched all of these off first to begin with so then you can see in step-by-step mode um as to what's happening okay so here we go so the first thing i will do now is basically i'm i'm i'm applying um just like um you know color space transform that you see in my settings but this is something you could be doing you know with a lot with color lab with anything you know you guys prefer basically you could do that okay so then here i apply the little primary just to kind of bring a little bit warmth into this shot okay so that was the kind of the second step then what i did is i have then created here and a color generator and this color generator i have then set in my grayscale slider to be uh 50 so you just basically go to grayscale you click under this middle one and that is going to give you neutral gray out but then we need it we need it because i show you when when i kind of start doing blending modes this is really going to be important okay and then what i did is i have connected my just an in output input node into this because to activate the color generator you need to just connect any node in and then i have created three worker nodes that i have combined into a parallel node okay so this particular node has got the vignette but what you see what i'm doing is i am effectively applying a vignette onto a gray scale image on a scale on a gray image so this is what i'm doing is i'm basically darkening this particular gray so you see what i did here was i have just basically you know uh darkened so i took a gray background and applied the vignette that has just darkened that particular gray okay the next thing that i did here is i have then applied a circular window okay and again i'm applying this circular window only like it to the gray and you can see where you're applying it to you know you can totally adjust it it's affecting your image so there's no absolutely no problem about it so you can just do that okay um and then what i did here was an interesting concept actually what i did is i've taken the actual image all right the actual rec 709 output and i piped it back into the parallel node so what i got here is just the basically my image again okay and on there what i did is i have just applied like a little bit of contrast so you see i have just basically gone and and taking my original image and i have blended now like a more i created a little bit more higher contrast version of that image i also have a like a you know saturation switched on here um you know we don't really need a situation we could be working just with black and white as well and i think it's just going to stay there so you see what i did here now is i have lifted my gain and i brought a little bit my lift so you see i'm kind of just applying like creating like a black and white image in and with a higher contrast and then i have combined those three um together into parallel mode then i needed just a connector node this node is not really used for anything um but just you know as a as a kind of connector node and on that node what i do is i desaturate completely because i only want to blend those two together okay so that's the one and then i'm using here a layer node and what is important trick this is the most important trick the composite mode is soft light okay you have to blend your parallel nodes that you're processing like this with the original image in the soft light mode okay and then what you can do is then you can use your your key output of this particular node to control how much of that effect you want you see and what i got now is this kind of beautiful and especially have a look at the difference to what this kind of third blend note does you see so it basically really gives you this kind of gorgeous contrast right that is just you know blended in in a really nice fashion so let me show you this is without the contrast note this is with the contrast note yeah so basically this is kind of the the the beauty of you know blending you know if you actually look at the process if you ever look at the kind of you know stills retouchers how they work um you know how they retouch still images it's really like that they don't really retouch the actual image they retouch a matte and then they blend that matte together so this is just a trick that i'm using a grayscale mat that allows me to do both brightening and darkening because it sits in the middle and then with the soft light blend mode i get this kind of beautiful effect of you know bringing this in and it's just you know it's very hard to replicate this kind of thing in just using normal nodes you really need to take advantage of this kind of advanced processors inside it um so let me see oh you're welcome julian i'm brad i'm glad you like it you know so it's a it's a it's actually a little bit kind of you know i would say like some you know tricks like these it's just a really something that you don't really necessarily see like on on tips because this is really how pro colorists work and they don't necessarily go out and share this with the world so i but i i'm i'm glad to kind of show you this so you can get the idea to what really you can do with dodging and burning i missed what the matte is before the parallel node what is it again oh right so the matte is just the basically color generator so i just basically took you know this color generator or effects plug-in and i just you know drop that on so i need a source of a neutral gray and that neutral gray is basically what you you know allows me then to apply windows to it and then when i blend them i basically get this dodge and burn effect in really really nice yeah thank you darren hey darren i actually darren did a great little tip on kind of editing page and darren i never quite understood what the page is until i haven't seen your video and i suppose that's the difference when really professional colorists explain something you know they really know how to do it so i think i hope you're gonna make some more of that okay so um uh let me show you actually another um um in a way of how to use parallel nodes and this one i learned like a really after i arrived to um los angeles and um i have to credit um walter volpato for that so mr walter volpato is a great colorist working at the moment at e-film um and he did a meet-up and and on that meetup he basically um you know showed us you know his note tree and i'm going to publish that recording i promise guys i'm going to publish this recording um and basically um what he's uh doing it with parallel notes was actually an incredibly smart idea i never thought of using them like this but you know i want to share it with you but i hundred percent i you know this is a walter will patter trick i haven't invented this um so i want to show you uh maybe i'm gonna use it in this particular uh you know clip in the next clip and show you you know how it works okay so what walter does is this you know let's say he has now very complicated no tree i don't want to go into recreating his notary that's not really the purpose of this particular kind of live stream what i only want to do is i want to go and say okay great i'm going to open another serial node let's say and i'm going to open another parallel nodes okay and then what he does and he puts these parallel nodes all the way until the end of your node tree so you know you would have here qualifiers curves whatever else guys you want to do you would have all of that right but here what you do effectively is you put it at the end and if he calls them like review notes right and then this particular node he's going to call dp this particular node he's going to call a director okay this particular node he's gonna call a producer i don't know showrunner right so you get the idea what is happening okay now watch this you get the dp and dp says ah walter can we please make this image a little bit more saturated so walter goes to the dp node and says there you go it's more saturated right and he makes it whatever 70. i'm going to make it a little bit more just for you guys to be able to see that i've saturated it more okay this is exactly the result you know everybody's happy now director comes in and director says nah you know walter can we have it a little bit less saturated no problems and walter takes the second parallel node and then he dials this one down okay and then what happens look if he dies down for exactly the same amount that the dp requested he's back at the square one as if nothing happened he completely neutralized and especially in saturation by the way this is an incredibly useful tool that you can completely non-destructively desaturate an image you know from being very such a this is using parallel nodes so i i actually think this isn't the best thing you know to do so now you know he didn't like you know have anything happen on top one another he didn't now have another correction applied to it no he has combined all the review notes into same tree okay using the parallel right and then producer says oh well you know i think we need to be a little bit more saturated and then finally associated a little bit more and so you come to that kind of you know agreement to how things should look and and what should be happening and i actually thought this is absolute genius you know you guys don't know how many times you know you end up in a situation where you know somebody says oh make it more like this and that person wants to go in the opposite direction stuff like this but you know instead of you just messing up your image with some serial notes that don't quite you know overlap each other they don't quite you know subtract from one from another um you are really really able to you know come to an extremely like a good good good result i mean just to if you didn't quite get it from my first you know explanation to how the math work works you know i'm just going to show you again you know like what really happens inside you know these notes so that you understand why you really want to do this kind of corrections in the same node so for example here i'll just make a window and then in this particular window i'm going to turn the luminance mix down to zero and then what i'll do is i'll let's say lift my my my channel all the way let's say to two okay so look so i'm basically now creating like just a kind of you know effect let's theoretically we're assuming this is something that you know we wanted to do to this particular note but then a director comes in right and says no no actually i'm thinking we should go and make it less red right so what you do then again is you just go here right and you just make it like a last red and you go and when you as you pull it all the way down you know to your value of you know the minimum value you have completely offset that so you see there is no window so we have perfectly offset one correction from another and that is very very difficult to do especially with windows or with saturation when you're using serial nodes because remember we're taking an output of a node and applying effect on top of it so the map is not the same okay and that is really like the the kind of the beautiful you know feature of parallel and then what i'm going to do here i'm going to go and open another you know kind of serial node like this and i'm going to go and say oh no we want to bring some red back no problem i'm just bringing the red back again right so you are totally like able to kind of you know work in in a great fashion you know with these particular things and i have to admit it's been a while you know since i was doing this kind of you know you know introductions to resolve kind of stuff mind you this is not anymore an introduction but um you know i i i i i used to when i used to teach just resolve i used to actually really like to be very particular about teaching you know the workings of the node because i think it's very important for us to understand what's really happening mathematically and then you understand you know how best to deploy it um so yeah it's been a while so i have actually quite enjoyed you know this little session um so that would be um you know all i had prepared you know for you guys you know for today you know it was just a quick you know dial in it was a crazy busy week you know the studios have woken up and they want everything done now as usually so we had like a quite a lot going on um and um but you know we are actually super happy to let you know that you know next week we have a feature film master class happening um let's go it's all um going on so we're starting on monday and we're going until thursday two hours a day we're gonna be doing you know you know some crazy stuff like you know this kind of little bit of kind of complicated note trees for you know dodging and burning um and lots of other interesting things you can go to our website and you can go and check it out and see what's happening all classes we did so far absolute blast i have to say that that you know slowly we are coming to the conclusion to what is a really good method to teach remotely um it doesn't necessarily replace classrooms but i think you know working like this you know like uh with the you know supervised in a supervised way with a colorist is actually absolute coldest you get also to do an assignment every day that i then correct and um and i think um you know we're we're we're like improving it all the time you know with i think every every course we're adding some new things that to make it better um students are giving us great feedback which is helping us a lot so actually you know i i think you know that we're you know moving in the right direction to how compensate for the lack of you know ability to teach in the classroom um let me know if you have anything else guys you want to you know ask me questions but it seems to be all pretty pretty easy drake thank you very much andrew good to see you here thank you as well julian amazing love to see you all the time you know send me like a some more feedback skyl it's gonna be exactly the same like a last class and adding a few bits and pieces kyle if you did it no need for you to do it again um what is important just for you guys to know is that that we are going to have this micro degrees we are still working with a couple of studios to approve the content and you have to understand i have made those classes but what is very important for me is that people who are going to giving you jobs are agreeing with the content of those classes they say yes this is how we want things to be done and that's sometimes a process it takes a long time this is not what these people do for living this is just a favor they're doing to us um so i'm just delaying a little bit the release of the other classes because i want you know to put all the stuff in so that when you actually learn something from us you learn the right way to how actually you want to deploy it if you get the job to working on the netflix amazon marvel hulu disney or apple that we are they haven't taught you anything that is not according to how they think should be done um so this this little micro degrees are coming i'm just basically finalizing approvals for the content and that is going to be your next step if you did already remote classrooms you don't need to do them again you're going to get very specific courses where you can specialize for particular tasks so thank you very much for you know dialing in you know i i loved it i loved it actually we had like a quite a good turnout for for uh you know this um i'm gonna [Music] um you know and also by the way maybe let me in comments if you want um something interesting you know for me to cover again you know i'm i'm i'm i'm kind of all open for suggestions um and um in the fashion of the youtubers you know just go ahead and subscribe to our channel because i don't think that we are always going to be like announcing things through eventbrite as we did it in the past so just hit the subscribe button so that you know any time we we post a new live stream like this you're basically notified automatically and you know where to find this love it loads thank you guys for a great feedback thank you isabelle and andrew glad you enjoyed it and yeah you know hope to see you next time we're gonna go live probably in a week time at least we're gonna be live again thank you again

Channel: Colour Training

Views: 13,667

Keywords: davinci resolve, color grading, frame io, reddigitalcinema

Id: CufoCJiNcy4

Length: 45min 57sec (2757 seconds)

Published: Thu Jul 16 2020