Graphics Reference
In-Depth Information
corrections won't do too much, but the highlight controls will alter the
image almost as much as the gamma controls.
For colorists who are migrating over from Apple Color, it's a little eas-
ier to manage multiple secondaries in Apple Color than it is in Resolve,
but that's because using multiple secondaries in Resolve is a lot more
powerful and therefore more complex. The method for using multiple
secondaries in Resolve is to use the Node Graph to allow mapping of sec-
ondaries in very specific ways, including serially or in parallel. In Color, it
is possible to map secondaries only with each secondary being fed into the
next in series (serially, or in a row). With Resolve, these serial or parallel
positions can be remapped at will and can make a real difference in the
way the corrections look.
Imagine a case in which your first secondary takes out all of the
color of all of the pixels in the image. Then, from that point on, none
of the secondaries would have any color information to work with. In
Resolve, you can have multiple secondaries running in parallel with
each other, or you can rearrange the order of serial connections by
disconnecting and reconnecting the links between each node. This
approach takes a bit more work, but delivers a lot more power and
control.
To do this, you start with a basic correction in the node graph. This
first node is always there by default. Now you can either use right clicks
on the nodes or in the node graph or you can use the Nodes menu choice
at the menu bar at the top of the screen to add specific types of nodes
( Figure 5.27 ) .
For a simple set of secondaries, the node graph I've built ( Figure 5.28 )
allowed me to add specific vector-based qualifications and corrections to
three different areas of the image and then combine them with a unique
compositing mode.
Fig. 5.27 DaVinci Resolve's Nodes pulldown menu.
 
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