 All right everybody, welcome. Welcome to episode 13 of Logic Live. This is Rizal for Flame Artists with David Johns. As always, Logic Live is brought to us by Cinesis Oceana. Cinesis is my reseller. They have been working with them for for 15 years but could not do what I do. We cannot do what we do without them. And they've always been huge supporters of the Flame community. They sponsor user groups all over North America. They've always sponsored the one-frame-of-white contest. And I just want to thank them for their continued support of the Flame community. Cinesis Oceana solutions integration and support for digital content creators. Find out more about them at Cinesis.io. Cinesis Oceana supporting Flame artists since 1997. All right, so we got a great episode of Logic Live lined up for you today. We all know about Rizal. We've all heard of Rizal. Many of us have used Rizal. And I know as a Flame artist I've, from time to time, needed to go and use Rizal to either, I mean obviously for color grading but also for things like cleaning up XMLs which occasionally come to us from our editorial friends with a couple of three issues every now and then. We've also used it for format conversions for either things that aren't supported yet or maybe if you're running on an older version of Flame and there's a codec that isn't there, you could always jump into Rizal. But there's so much more to Rizal and it's look, it's another highly complex gray, predominantly gray visual effects app with lots of buttons. But there are ways to load clips. Once you know how to load a clip and figure out where a timeline is and set a keyframe and do the basic functions that we as Flame artists need to do every day, then it's really easy to pick up something as complex as Rizal. And that's why I'm so excited for David to be here. I've had a chance to work with David over the last year and he's just a phenomenal guy. I'm going to put in the chat, David has a 20-minute Rizal Fusion Flame Nuke AE Hack workflow, basically a bit more in depth into the how to integrate Rizal into your workflow and how to go back and forth between the apps, a little bit more in depth and then we're going to have time to get into today because we're going to cover a lot of things today. So I'll put the link for this in the chat, definitely check it out. It's fantastic. And I would like to now welcome to Logic Live, David Johns. David. Hello, everyone. Hey, welcome, man. And you are coming to us live from Portland, Oregon, right? Is it Oregon or Oregon? Oregon or Oregon? Oregon. Oregon, thank you. Okay, at least if nothing else, we've settled that today. Well, the problem is there's an actual town in Wisconsin that goes by Oregon. So people learn it, especially in the Midwest, people learn it as Oregon. And that's not the way to say it out here. I've learned two things so far today, David. It's Oregon and when in doubt, blame Wisconsin. So an apologies to all our friends in the Milwaukee market. David, why don't you tell us a little bit about yourself and a little bit about your background? Okay, so I've been in TV advertising and media biz for about 20 years now. The first 10 years of that was primarily as an editor. Did assistant editing on a feature or two and then primarily was in advertising world. About 2010 or so, I started transitioning into doing finishing work primarily from, you know, finishing my own edits. And then I took over finishing the other other artists edits, the other editors clips and eventually got smoke back when smoke was on Mac was a brand new thing. And that was my intro into the Autodesk world. And eventually picked up resolve and now flame. And so for the last five years, I've been about half and half doing half my work and resolve and half in flame. And many of the projects bouncing back and forth between the apps for the same project. Cool. Yeah, well, let's dive into it. But before I have you share your screen, I just want to remind everybody, if you have any questions, please put them in the Q&A panel. That'll be the easiest way to keep track of them. And if you do want to put anything out in the chat, just make sure you have the chat set to all panelists and attendees so that everybody can see can see the comments. So David, if you want to go ahead and share your screen. All right, let's do that. Share screen desktop. Share. Are we are we good here? Yes, sir. All right. Yeah, so we just did my little backstory here about me. Quick couple things about resolve. It was top of the line grading app in the 2000s. It was acquired by Blackmagic in 2010. In the 2000s, it was like flame. It was a six figure minimum purchase up to $800,000 for a top of the line resolve system. Blackmagic acquired it started using the gaming GPUs and making it a software only product. And it's remained at the top of the heap for a while there. But the development started steering it towards a more general video tool and added editing features and then visual effects. And now it's even got audio in there. And now their latest version is basically got Final Cut 10 in there. It's got a regular editing page. Let's like a premiere avid page. And then the exact same timeline can be edited in a Final Cut 10 style. So that's not really my interest in it. It's still awesome for color. And they're still adding visual effects tools and other things like that. And they're also developing pro video shared workflows where if you have a setup as a server, you can have editors working on a project and colorists and visual effects all working on the same live timeline. I don't know anybody that's actually using it yet because if you're an audio guy, you know, pro tools and Fusion is their effects tool. Not a lot of people know all that. So I don't know anybody actually doing it yet, but it shows promise and it shows that they're thinking of the pro market. And I think it's not just, okay, let's go to the YouTuber crowd. But it does seem like most of their developments are going that way. They want millions of users, not thousands of users. So they do keep up with the kind of the bare minimum you can do ACEs, HDR, Dolby vision. This is the same app you can do an at most mix and a Dolby vision picture release. So it's pretty wild that one app does all of these things, but it's so strong and has such a good history. Company three still uses it. Baselight is kind of taken over as far as the higher end workflows as far as I can tell. But it's still definitely in use. And I'm sure it's the most widely used color app in the world since it's very cheap. Now flame has made great strides in the last few years with its image and effects tab and the new color tools that it has. So why spend any time learning resolve? Why do you bother with that? Andy mentioned a couple of things. There's just simple things. I think you can sometimes think of it as a support tool. Like sometimes you use Nuke or Synthize or whatever. Think of resolve as another tool in your kit. It can be XML cleaning, reading new formats, DNGs or new camera code X as Andy mentioned. Resolve is usually the first out of the gate to support anything new that comes out from Sony or Red or anybody like that. So it's another tool for some VFX. I'm going to show a new time warp algorithm it has. It's pretty awesome. Fusion is built right in. It also has almost all the delivery options you could ever need. DCP, H265, IMFs, all kinds of other stuff that Flame is getting on board with now with their IMFs. But like two years ago you could export a QuickTime or a DPX or EXR but not any of those distribution formats. It has awesome subtitle track support. I've done one project that I did most of the work in Flame but I needed to add like five different subtitles in Korean and Chinese and all of these kinds of things. So I just exported a generic, popped it over to resolve and built all the subtitle tracks and exported the final project from there. And it's still an awesome grading app. And since I know it, I've been using it for years, I still find it very, very intuitive and helpful for projects that are primarily grade. It has killer performance. It's very GPU optimized. They know a lot of people are working on laptops and even a few years ago I was able to finish a feature shot on red 5k with off-the-shelf 2015 iMac before the iMac pros were around. It's got some great tools for client sessions for showing all your versioning, for grouping clips and filtering, things like that. I think Flame's working, you know, it's getting closer and doing a lot of these kinds of things now but there's still some things in resolve that I just love. It's compatible with just about every grading panel that's out there and it's free. So, you know, why not have a free toolkit in your thing. There's this advanced version that's called Resolve Studio but even that's only $300. It was a thousand a few years ago when I got it but my same, I got one of those old school dongles and the same dongle has worked for like six years now. I've never even had to pay for an upgrade or support or anything. So the support is, yeah, you get what you pay for which is nothing. There's a little bit of, you know, that kind of thing. Hey David, actually I got a first question that came in. Do you happen to know if there's parity between the versions, like is the Linux version and the Mac and Windows, they all feature identical or feature payments? Yes, absolutely. Work for all of the buttons are in the same place. There might be a little bit, you know, a different thing to set up with the graphics cards but you could, if you know on one system, it'll look the exact same on all the others. Cool, thanks. So I use Resolve in basically three different ways. One is, this is my preferred workflow. I love to, if I have the time and the proper schedule, I love to do a grading pass and Resolve, get the grade approved, move it over to Flame, do my visual effects conform and deliver from out of there. That's happening less and less these days. I just don't have a proper timeline to do a lot of that kind of work and sometimes I don't even do the grade. It could be anybody else doing the grade and I'll try to do that same workflow but then there might be one or two reasons to pop over to Resolve for a shot or an export or a subtitle or something like that. So I can use it as a support tool or what I'm often doing now is using Resolve as my main tool and then using Flame for visual effects. So I'm doing my basic grade and conform and Resolve but I pop out to Flame to do my effects work. And occasionally you get these crazy projects where I'm just kind of doing this all day long. I did one project recently for the University of Oregon. Nike had just built a big museum to the founder of Nike and the track coach there and there were like 20 different deliverables and it was all sorts of historical footage with deinterlacing and pull down removal and all that stuff. So I brought my Flame out to Nike and did the work out there on my system. They were like oh no we only need you to do color and I was like yeah trust me you're gonna want Flame. And so we wound up finishing like 20 videos and I think like eight of them were out of Flame and 12 out of Resolve. So all kinds of back and forth is possible. So let's jump into Flame and show you a typical example here. So we have this shot you know cars driving by nice tracking shot there. When we get the edit the editor has gone to a 38% speed war. So it bounces between 200 and then down to 38 and I'm not sure how's the video quality playing back? It's better than it was but I think yesterday rather. So I want to thank the majority of the United States for staying off the internet while we do this. Yes. Well so we do a 38% time warp obviously we're going to have all of those repeated frames in the mix mode so you try up here to do a motion effect and then see how that looks and you'll see all kinds of crazy warping effect. If I go into here if you look down here in this portion of the the street and the ground over here let me do a couple of frame by frame step through so you can kind of see how it's getting really ugly artifacts and I could like okay I could rebuild all that in Flame with projections and you know take a half of a day to redo this or I can see if another time warp algorithm is going to give me better results. I used to be at an ad house full-time that had Nuke and so I could pop I didn't know Nuke as a true compositing tool but I knew enough to get a clip in and try a time warp and render it out and see if that gave me a better result and I could bring that back into Flame and pick and choose okay for this portion over here we'll use the thing out of Nuke or resolve and then this portion we'll use the Flame and recombine the clip that way instead of trying to stay all in Flame. So let's see how we do that so I brought this in as an edit as an XML and it conformed okay so I didn't have to run it through resolve to begin with but now if I want to get that over to resolve one other thing I'm going to save and quit Flame each time I go back and forth but I don't usually have to do that I can usually just tab over here and switch between whatever you know keep them both open as long as I've turned off the video hardware on one of them I can have my broadcast monitor outputting Flame or resolve but not both but with zoom and maybe it's the latest versions of one of these I don't know I was crashing when I was trying to do that so I'm going to save and quit each time I do this but normally I don't have to do that okay just add zoom so far we've learned we're blaming Wisconsin and and we will also add zoom zoom probably yeah we're creating an enemies list today here on logic live so starting up resolve I love these flat like these launch screens because it's always like here's someone enjoying like ramen and by the way there happens to be a black magic camera you know in the foreground there product placement I love it so I'm going to do a new project here and I'm just going to call this logic Sunday so I'll show you it's starting from total scratch so we're up here and it's laid out kind of similar to Flame where it has tabs along the bottom here for which mode you're going to be working in and it's kind of set up in a left to right manner you start here at the media you have two different ways to edit now visual effects here infusion color grading here fair light is their audio tool and then everything gets output over here from the deliver page that's a little bit different than you know often you can go back to your normal timeline and hit an export button doesn't work that way okay so like any you know editing or visual effects tool here you're going to have media browsers and I like to create my own bins and sort of do my own organization for this I'm going to have a timelines been and I'm going to have a bin for reference cuts and a bin for sources or however you know whatever project you're doing it'll have different needs over here but so to do this time warp I'm going to go here and go right click in the timelines and I'm going to import an XML so it's going to pop up here here's our time our cars time warp edit and because this edit I just built this edit in premiere it's going to automatically link to the media because it knows where that media is but sometimes there might be an extra step in there where you have to point it towards your your media and of course there's a lot of options when you do this I usually uncheck use sizing information because I usually want to control all that myself set project settings it's kind of already set I'm not sure why it does I think that means take the setting from the xml so when I hit okay there so I've got this guy and it's doing the time warp if I look at the clip speed here change clip speed it came in at roughly 38 same as the other one oh and I forgot to mention this was 6k footage so yeah exactly so gonna look right on snapchat sorry yeah exactly right I've had a week um so we want to add resolves time warp and see what kind of effects we're going to get out of here well over here there's retiming and scaling this is your little inspector this is showing you what your selected clip is like if you put a transform on it and you're zooming so we're going to enable the retime and scaling by double clicking it and so this middle one is the one we're interested in retime that to optical flow of course it has the same you know nearest frame brand and then optical flow and then in motion estimation there's a speed war and that will do a really high quality they they claim it's you know AI powered whatever that means but what's interesting about it is we'll get some pretty good results now one thing that I find really annoying about this is there's not a way to just say okay you can't do this in real time just render it for me well you can't just like hit the render button what it does is I have my preferences set up on playback to do a render cache in smart and so this does a little analysis of the power of your system and says oh I need to render that before I can play it back so this little blue line up the blue line means here the blue line means it's rendered and it's ready to play back and it's a little squirrely on the timeline page it actually has better recognition on the color page where if I try to play this back it's going to be jumping this red is saying oops I can't read I can't play this back I need to render it so it's playing through and rendering it as it comes in so soon as this is going to be done there it's ready to play back so now we go into full screen mode here and we can see so how does it look well if we look over here it's not perfect there's a few little wobblies where the shadows cross there but it's a heck of a lot better that might even be good enough to to fly might be a little funny things here with the wheels and stuff like that but again this is similar to exactly what I would do in duke I would run it through the chronos time warper and whatever their other one was called and see which you know what parts of it worked what parts of it don't work that's great and with resolve everything kind of has to be in a timeline right I mean yes you can import a bunch of clips into the media hub but in order sorry into the media well media hub but in order to apply effects or do a color grade or anything like that you need to put it on a timeline that is exactly right I'm going to show you one other clip here my camera original so here's a clip I'm just this is basically just a finder window I'm pointing to the media on the disc here and with this particular clip I'm not sure how this is going to show over the streaming but can you see the flickering that's happening on this character as he sits in front of a computer screen mm-hmm is that showing up I can see it okay cool so if I wanted to work on this shot I could drag this in I would put it in the sources because that's the way I like to organize it and then if I want to do any effects on this I can't add effects from here and it doesn't have a batch environment it does need to be in a timeline so I would just right click and say create new timeline using selected clips and I'll call this flicker fixer and it's going to put it in the same bin where you're working from I'd like to move it into my timelines bin just for myself my own organization oh and this clip was the source clip from that xml import so I would personally move that over to here it does have smart bins over here like it'll show you every timeline in a project but especially if you have a lot of versions it just dumps everything all into one so on a big commercial job I'll create sub bins within my timeline bins and so I can organize this you know however I want the 30s or the 15s or the this spot that spot but point being where you need to do the work in a timeline so for this flicker fixer I don't have anything to do timing wise or scaling wise in the edit page I'm just going to go right over to color page and add resolves for years now had a lfx support so there's tons of these open effects that you know have all of your standard add scan lines stylized tilt shift things like that but one of them that is super groovy for stuff like this is called deflicker so I'm just going to drag this over here onto the deflicker app and then it has a couple of presets there's a time lapse version that's obviously you know designed for time lapse or fluorescent light version different flicker characteristics and since this one the the lines are if I turn this off you're not migrating the lines are within one frame it's almost like you know zebra stripes rolling up scan lines rolling up and down his body there so I could turn on the flicker fixer and it's just magically gone away so if I wanted to get really proper about that I would say well the flicker was really only on him not on her and there might be some softening going on etc so I could do a really quick matte and drawing a mat down here my mat tool power window oh sorry there is a feature here where your window outline is I usually keep this on only UI which means if I'm going to draw a mat here I see it on my user interface but not my broadcast output but with some softness there and so now that effect is only happening on him I do like to check out you know every every compositing apps take on the creation and display of the of gmasks and roto splines and control points and everything yeah yeah it's pretty decent I I prefer flames but you know I can I can get by this one and so then I would this is a handheld shot so I would go over here and track that the first one I'm going to do is turn off the deflicker so it's just tracking the raw footage and it's just going to go really quick wow all right so then I'll just turn that back on and then that shot would be good and ready to export as soon as I try and hit play it'll probably tell me render no okay yeah it's although it's pretty much keeping up with real time it's just rendering it as fast as it needs to okay so we have a couple of shots done we want to get those back out to flame you said normally your instincts would be to go back here and try to export something and then you can only export data you can re export an xml you can export all kinds of data from here but no actual media all of that happens over here on the deliver page so back here anytime you're in resolve and you're exporting you have the choice of doing it as a single clip or as individual clips and you have some different options that happen with that so for this one it's just one particular clip it could go either way it wouldn't really matter the resource resolution is the same as my timeline resolution the only difference would be does the timecode come from the sequence or the source clip and anytime you're working in single clip mode it's all going to be flattened into one clip with timecode from the timeline if I had multiple layers on here they're all going to flatten down into whatever however I've composited it but if you do individual clips it will kick out separate files for every shot in there which is more traditional color grading and it has a nice little feature here called render at source resolution so you have 3k footage you're working in a 1080 timeline you render that out automatically is exactly the source footage resolution so it'll match your raw footage exactly now if you want to do that there's a couple of little things to to notice here disable sizing and blanking output is helpful blanking output is if you're adding a letterboxing on there and sizing is if you had you know this was zoomed in 20% or something like that if you click that to disable it it will just come out exactly one to one to match your raw footage maybe you've started compositing in flame on the raw footage and also a great little feature here is add handles and it will automatically add you know handles on both sides if it has them so for this one it could kind of go either way for the other one I just did the car's time warp so we are going to have our options here we could you know this whoops I'm sorry I'm in loop mode that's the part we are really interested in so if I wanted to export just that shot this is my little icons here I could just say render this clip and it will say mark in points and out points for just that clip or you could go back here mark in there and it will add you know as many of the whatever section of the timeline you want it to be in so here is one of the weird little gotchas I'm going to try to point out one of the things I find frustrating is like when you're used to one program and you're getting a buy in the other one and there's just one little thing that you're doing wrong you have no idea where that is and it's just a different way of thinking about you know how to set up your project or something so for example this should say render at source resolution and source frame rate because that's what's going to happen it's going to go back to the real time code and render it out at like if I just say render this clip uh let's not add handles not more about that I say render this at think I want to make sure I'm putting this in the right place I'm going to put that in today's folder and I'm only going to render this clip add that to the render queue so it has this render queue over here where it says okay I've got this job you set up and one clip in here and then you have to go down here and hit the start render button okay so we did this 6k clip in a 1080 timeline and it did uh took a while to render it as you remember so if I hit start render bang it just did the whole thing in like two seconds right it's like wait a minute how did that really work is that reprocess all of that footage that no what happened is it's going to render out that clip at 6k so if you look here yes it did it full resolution and but if we watch it play back quick time seven's not really equipped to deal with that our slow mo effects are all gone it disabled all of that time warp effect that we did so then you could say okay well let's render this out as a single clip so then it will respect the time warp that we did and do that timeline name and this is going to be the resolution of the timeline so here if I add that to the render queue and I start the render David you're running this on an iMac pro right yes this is a iMac pro with maxed out ram and graphics cards up here it tells you a little number of how many frames per second it's rendering so it's not quite real time here it's four frames per second that's actually quite a bit away from real time isn't it but what we will get is cars time warp edit now we have the time warp version well that's okay if we're not doing any other work and we're happy with the 1080 render but let's say we want to redo that time warp at the full 6k resolution so you could go custom and type in the resolution here but you've still done all of the rendering and processing at 1080 so you're just uprising at the end so that's not really the right way to do that so what you'd want to do in that scenario is go back here to your timeline in this then we would say time I'm sorry duplicate timeline and I'm going to rename this one instead of copy 6k and then over here in timeline settings it was going to default to its normal project resolution which was 1080 but finally finally finally in the last version of resolve you can have multiple timelines now I could in the old version I could have gone back and changed my entire project to this timeline resolution and it would still render and do that but now I can do a custom resolution let me see if I got these numbers right 36 or processing and so now I'm going to open the 6k timeline and it's going to beach ball me for a minute because it's got a whole bunch of new data it's not used to and it's going to take a minute to figure out that the resolution is different and it has to re-render all of this but once it does you could re-render it and I'm not going to do that now because this render took about 10 minutes to do but it still looked good it still had the same resolution the same quality of the the render so okay I'm so glad you showed this because this would have like consumed half of a day for me in oh absolutely yeah in various states of of rage tweeting and you know expletive poetry and you know and anger googling yeah that was three hyphenated things yeah so I'm going to switch over to another project where I've done some of the work already show you another couple of things here okay so in this project wait which project am I at now oh 22 this is the one sorry my practice session's got a little confusing there okay so back in the we're still in the using resolve as a support tool I'm just going to show you that subtitling thing that we talked about and before I do that I'm going to show one other thing here in your sources you have the option of adding LUTs here at the media panel like this particular shot we have here is shot on airy rather flat but then he gets pretty brightly exposed at the end if I put an airy LUT on here bang now I look at that in my color page where I can see the scopes okay here when we get out to here we're oops sorry that's the wrong thing here okay obviously way blown out oops sorry I didn't reset this project okay that's what I was expecting it to look like so my highlights are getting clipped and you would think okay well I'm in a you know resolve it's a professional floating point application and I should be able to just bring those highlights down but no they're getting clipped out and once that LUT is applied back over here that becomes its new sort of base level of clip so if I take the LUT off here but then I put it on here I like to put the LUT here in the node graph so that I have control over it I can turn it on and off as needed and you'll also see okay if I take this down it's still doing that same thing but what I can do is add a node before there and bring down the LUT before it hits the LUT so now I'm able to retain all of those highlights and stuff so just a little got you there's two different ways to add a LUT but they'll can sometimes yield different results and really quick while we're at LUTs just because I'm trying to point out all of those little gotchas for you let's say we had a custom LUT from the DP like here's an old project that I had called Joyride with I had a LUT that provided by the DP if I want to apply that I could do it over here I could do it over there but the crazy part is what well how do I get the new LUT in there I just got an updated one or it's a different project or whatever and you'd think there would be a way to say load my custom LUT on here right no there's not you actually have to go back here into the finder level library application support resolve LUT and create your own little folder here if I were to create a new folder here logic so now there'd be a folder there that I can access from here I might need to restart it I forget yeah probably in the next time I start resolve it would show up over here so I don't spend too much time on that right now so real quick I'm going to show you this other subtitling support so subtitles can be either generated in resolve and manually typed out or imported but the cool thing is it also has a bunch of great export features but if I turn this track on so now we move this guy away here and I highlight this so it's like looking at the subtitle track and the subtitle clip I have this cool little interface here where it holds me all of the subtitles in there and you can jump between any of them and yes Andy is the best but what's awesome about this is if you just say use track style anytime you change anything in here you want them bigger you go back to the other ones it changes them on all of them it's you know and if the edit changes you need to slide anything it's just simply like editing any other little clips on there so then depending on your workflow and your deliverable okay I've got subtitles here how do I export those over here if I go back to the individual single clip mode there's a whole new panel here called subtitle settings and it can export them as a separate file you can burn them into video or as embedded captions so as a separate file you have a couple of options here and that will generate the .srt file that maybe that's part of your deliverable if your picture is totally finished you can bring it in here and export a version what burns it over there or if you want to bring it back into flame another thing that I've done is just throw black over it and then it will just export that as white over black and put it over here and just say burn into video and then that will come out at your timeline resolution as a white on black and of course it can do all the different you know if you wanted yellow you can change that to color yellow subtitles so okay the other thing I wanted to point out is all of the cool delivery options like I said you can do quick time DCPs, DPXs, IMFs, quick time ProRes H265 and it has even has presets up here for IMF Netflix 20th Century Fox and you know DCP is something I've had to do quite a few of and it has a pretty great built-in free DCP thing or it also has easy DCP which is a little bit of a higher end codec that you know the professional DCP people would say oh you can't use that cockadoo when that's bad you know it works fine it's I think it's the differences it doesn't do variable speed or variable data rates it's still pretty pretty great okay so one bit of feedback in the chat here with regards to updating that list of LUTs apparently in in preferences there's there might be a button that will update the list without having to restart oh that's cool I wanted to make sure make sure everybody heard about that that is the management settings speaking of preferences I don't want to take too long going through these but it can drive it even drives me crazy I've been using this for at least five years and seems like every version they move preferences around so this one I have project settings for all of the different settings for this particular project and then up over here there's also preferences for system and user where you know I like my thing some way but then the whole system needs to be set up this way so it can take a while to I was hunting down something the other day and I was like gee that's Christ where did they put that thing oh it was like how much time does it wait before background caching it was like does that should that be project specific or system specific user specific took me forever to find it um okay so that was pretty much how I bounce out to resolve for occasional work like that if we're doing okay on time I'm going to try to show where I work primarily in resolve and then do visual effects in flame and have it seamlessly come back into my conform and resolve without manually importing it yeah go for it all right so back in resolve here I have a project called boating vfx and so here is my timeline that I have graded and I have a visual effect shot up here so the raw footage of this had this rope in here they wanted to remove so you didn't see the crew pulling the boat along and it's all a lie also said can we add some some branding into this so this is a spot for Oregon lottery and to know your limits of problem gambling this guy loves gambling so much he has the lottery logo on the boat not that but so this this clip here is kind of like a pattern browsing in flame I can have if I turn this off I see the original and if I turn this back on I can see any of the versions of this that I've done like in the first version I did just the rig removal and then in the second version I added a logo but oops I forgot part of the rig removal so then I went back and added a third version that cleaned that up and so we can easily switch back and forth between those versions and so let's say now I'm here in my color review and the art director or whomever says you know I like that but let's reposition the the logo of it make it a little bigger and maybe we'll brighten that up a little bit too so since all this is been set up in advance I don't have time to go through how to set it all up right now but that's what that other longer video is all about I'm going to quit this and go back to flame and again usually I just tab right over and I can be right there but I'm trying to prove make sure I don't crash today so playing it safe amen so I have just just to remind it everybody the link for David's other videos in is in the chat here and I'll put it up on logic.tv with the recording of this okay okay so here is where we were before I'm working on a flat pass so that you know my grade is going to work with me and we're also generating a map that we can bring out in there so let's just say we want to do a new version and we're going to make the logo that big and that orientation so I've iterated up to a version four and now I'm just going to render those guys out busy day on the lake today yeah this woman that's fishing does she really need to be at anchor that close to shore that's it doesn't look like a very windy day does it okay so I've got my new render here and my new mat here I just need to get those into resolve so the way that resolve does that is it creates if you'll look at this file path here I've created an intermediate renders boat 20 which is what I named this shot and then resolve makes this folder structure where it puts the raw footage clip in here and then in the fusion folder that's where if you are working in fusion it would render to that folder and so resolve would look in that folder for a new render from fusion and pick it up but it's not really doesn't really care where the render came from if I put version four out here movie I'm going to render that out yeah it's from an old version so now I've got version four out there and then I'm also going to export a new map out here for myself save that and now quit and go back to resolve oh here we go look at that news last green all of advanced showing the advanced panel new placement I would like to work in in a beautifully graded environment like that it's one of my it's my new professional goal with all beautiful people and purple walls maybe with just another person let's start small uh oh I'm blaming zoom on this one all right it looks like we may have frozen up here or David may have frozen up so we'll give you a chance to come back in in the meantime while we're waiting for David to reconnect let me give you a little preview as to what's coming up in the future on on logic live right so coming up next week June 21st we have advanced flame techniques with Mikhan Stepanyan Mikhan if you have seen or taken any of his fx phd courses Mikhan is amazing he is always like pushing the boundaries of of flame and and what is possible in between apps I'm really looking forward to this one so he's going to be kind of taking us through all of his fantastic workflows that's going to be followed by June 28th Joel Osis is going to join us the man the myth the legend definitely looking forward to that and July 5th we'll have an interview with Autodesse Stefan Laplie that'll be followed on July 12th by Brian Higgins from Flavor in Chicago July 18th will be another wizard Andy Davis from LA July 26th Naveen Srivastava from uh from oh wait David is back one second and then I will answer the the question that everyone is is wondering that is where is this Naveen work uh all right this is me scanning zoom to let David back in should be back in oh he was in here we go one second and here comes David Johns um and then we'll get back to the uh logic live upcoming in a second David are you back with us I'm trying to be it's saying I can't start video saying that host has it stopped oh hmm let me see if I can share the screen at least okay here we go okay that's good enough you can't see me but uh that's okay all right so with us in spirit though David uh am I ready to go on or you want to finish up what you're talking about no go right ahead okay welcome back okay thanks okay so here we are back at that thing and this I wouldn't need to quit and restart as long as I just hit this little button here to select version version four would show up automatically and that's so I've even had projects where I have other artists working on them and they drop them in there and then all of a sudden bang there I go I got the the new bigger logo because everybody likes the logos bigger so one other little thing to show is if I wanted to bring that mat in here's that mat I have to tag it as uh add as a mat so I'm gonna put my vfx folder up here and then I'm going to import this add media pool as a mat so it's going to come in with this little icon over here that says oh this is a black and white mat I can use that in the grade later so for example back here and this is cool too so it's reading that raw footage I have access to all of those versions all with the live grade on there and so now if I wanted to add something to control the logo there through the mat I can go in here and say add map and then it's going to pull up every clip that I have in the project that's been tagged as a map so obviously if I do that one it's going to be the wrong size and if I do before here now when I look at the map everything I do with that node is going to be graded through oops that's you to start your video okay and your back is going to be graded through that map and I believe that works on I can't remember if that works on timecode or frame count but I think if you I can't remember it can be a little you know obviously if you're going to time warp this I don't know if that's going to screw up the mat it probably would know that I think about it but okay so if I have a few more minutes I want to show you a couple like so like I said flames got really great rating tools now so why do I still like to grade and resolve well a lot of it has to do with what you can display like if I'm going to you know be starting a session I've usually done a first pass and then I can do a split screen and show a bunch of different versions so this actually goes out to your client monitor as well so we can start to look at you know version one appear two or three and see things in context in motion and then when I'm going through and grading I'll do the first pass and then I'll switch over to show me the split screen with neighbor clips and so this means I'm going to see the clips before and after and so you can see if something's stuck sticking out it's like oh that's not matching too well like for example oh this last shot here doesn't look like it matches this guy very well I'm gonna want to match those up so I'm always working on the clip in the bottom left corner so if I step up there and I'll oops I'm too far back to see that guy and go up here to viewing split screen and say selected clips and now anything I click on in the timeline I can see that and he'll even play them all back in motion but more or less for this one I would say oh I want to upgrade that one to add a new grade here to form it up and bring that back into line with the other clips and David this is two questions for you these are these this feature here is is available on the free version as well right yes yes I'm not exactly a hundred percent sure which things are on the paid version and which aren't most I mean there's certain high end things that I know like stereoscopic and things like that that aren't going to be in the free version but most of the tools are in the free version for sure some of these open effects things are maybe not in fact I know some of them aren't I'll show one that's not but back in the day I have before flame was was neat video supported I used to run this as one of my auxiliary things and just run it through neat video reduce noise render it source resolution you have a denoise pass to bring in the flame that doesn't even need rendering that was all pretty great um so a couple a little quickie I'm sorry one the other the other part of my uh the second part of my two part question there was is there a way to overlay on top of uh your your image there like information of of uh for each clip but can it show you uh like what version you're seeing in that split view oh I'm thinking about the the client who's watching um if you're doing versions if I'm tabbing between different versions like I go to the next version it pops up a little window there that says v2 is loaded v3 is loaded and then down here it'll tell you which version you're on version one two or three and you can change what this displays you can say show me the codec of this clip show me the name of the source clip and just by double clicking it cycles through those it also has a pretty robust uh data burn in if you want to see record timeline work frame number I'm not sure why I'm not seeing that but all of these things can be uh overlaid as as burn in source clip name source file name cool um oh yeah I'm not sure why it's not showing something with zoom maybe I don't know that's always a possibility oh no I'm probably still in a split screen mode that's what it was yeah I was in showing me selected clips but I only had one clip selected so now oops that's a little too small so yeah you can say source file name source clip name uh all kinds of different metadata can be uh put up here and then you can either leave this up and then just at the export window burn it in or not burn it in so turn all of that off for now and then I got one other little groovy thing to show that is another one of my favorite tools here and that is one of these uh open effects clips called a color compressor I'm gonna move this guy over here again so if I turn the grade that I have off for this clip this is a gradient degenerated in flame and I'll use this quite often when you're supposed to have you know branded things where somebody's supposed to be wearing a color that's exactly the right shade of blue for procter and gamble or whatever the client is like that so what this does is I can pull the key for anything that's even remotely red or green in this example and make it the exact right green like if you look down here in the vector scope there's some of this is over in the yellowish category and I can just say no pull all that right into the green over here you can control whether you're compressing the hue the saturation illuminance all of those things are I mean if you do all three you're just gonna have a complete flat green which not particularly useful but just to show you what the controls are so each one of these can be you know multiple things set up and I did a job once for google where they wanted all of their little products in there to be one of the four google colors so I just set that exact color that I was targeting and pull the key for anything that was reasonably close and the other cool thing that you can do with this is so this shot is here's what the raw footage looked like and the client this is for Nike and they had two different people chiming in on the grade one of whom was the product manager and one of whom was the creative on that so creative wanted one kind of look but that would change the look of the product what we can do with this color compressor is pull a key from the raw footage and then it has this little thing called target color where it's like what do you want that color to be and sometimes I'll even have people that give me here's your pantone swatch and match this exactly and I can change this either have presets or numbers here or even sample like this little thing like say we wanted to do this and you want this to be that green bang there it's that green and what's cool about this let me turn off of that so we can see the green and then we do a different color we do sorry target color let's do that fuchsia color so you'll see that out here in the vector scope that's where that thing is there and even though I'm feeding it the RGB from the fork you know from the grade I have a node for levels and a grade for color if I change the levels it's going to follow the product isn't it but the color if you watch that little vector scope there I can make this go very warm and it still saves that same color now eventually you know it gets looking ridiculous and fake but if you wanted to do subtle you say you got the product thing dialed in exactly right and then you want to do subtle grades on the other parts it's pretty easy to grade that and keep the product dialed in to exactly whatever color you had set up that's very cool we've all been there yeah man so and you can also grade it after the fact too like it's doing that matching and then you know you have a little bit more control if it's starting to look you know weird for whatever reason that's excellent David I have one question for you and then I wanted to just put it out there if anybody does have any questions please drop them in the q&a does resolve have an internal working color space yes that is going to be set on a project specific management here so this where my timeline color space I was just going with my standard tv workflow here but it has a bazillion different options for all of that it has red colors and 2020s and 2100s and all of that kind of stuff so it can get really really complicated if you want it to it's got all these different kinds of aces airy log c so yes it does and it you have input color space timeline color space output color space you can if you separate those out you can have different gammas for each one of these it can get it's it's normal default way is to do its own da Vinci space and then it also has a color managed version and then aces versions as well well here's another question for you or actually a request so it would be it would be great to show the hue versus curves I'm not sure if something's similar in flame that is definitely true all right so I'm going to make a new version of this clip really quick and then we're not going to do any of that color of work or thing that we had the curves section over here I didn't have time to go through this whole interface but the curves here has a lot of different kinds of curves this is like your normal gamma curves and then if you step over here it has hue versus hue so if you wanted to sample the skin tones and change the skin tones it's going to say here's your and then this is obviously your softening to that but there's a lot of really great hue versus saturation so we wanted to desaturate the skins keep everything else this isn't a particularly colorful shot but actually let me switch back to that other timeline really quick to show that like you know say we wanted to manipulate the color of this vest add a node here and then hue versus sat we want to desaturate this purple just grab that and then you have a nice I almost always add extra softening to it but there's that there's also hue versus luminance there's hue loom versus sat and sat versus sat and I will actually often fairly you know use these luminance things to say I'm going to make sure everything that's supposed to be black is black so I'll pull this down or if it's anywhere approaching black it's not going to have a slight red shift or anything like that it just desaturates everything that falls off to black and or white you can do the same with the white at the high end there and same with the sat versus sat you can say have things that are you know highly saturated maintain their thing and do a you know quick uh what was that movie that did all that with the black and white characters oh uh first one that did that in city no I forget some sort of fantasy thing but uh yeah so these curves are great the interface yes thank you that was the one I was thinking of thank you um it does take I mean I could do a whole afternoon in the interface what I as a flame artist I love having everything up here in a graph and being able to find all of that but that's just not the way resolved setup it has like a key for this every I mean the interesting thing is every particular node can be everything it's not like this node is a key puller or a blur you can add a key to that node by just sampling it here you can add a window to it by adding thing now this thing is only affecting what's in the window um it has the the tracking for the window you can add you know blurs and everything blurs and sharpenings all within an operation so every operation is the whole tool kit all in one so it can take a little bit of getting used to as far as like developing what workflow you like to do I generally like to do one operation per node so that if it's you know pretty easy to say okay I want to affect the levels or the color um and keep yourself organized that way and then taking just the actual little five minutes or five seconds really to label it node label on here that's the color so when you pick up a revision you're not starting from scratch trying to re reverse engineer your own work uh Jeff in the chat here said that there is a matchbox um can't remember the name but there is a matchbox uh that that gives some of the uh hue versus hue hue versus sat feature features in in flame um yeah there's the color curve and I like that in theory but it's it's it has weird issues like that I can never do a slight adjustment it pops it up to at least like five percent of the things I wanted having to build a comp and mix it back stuff like that and nil in uh in the q and a here had a question I think I I got it here it's like let's say you did a grade uh well I guess it's if you had two different versions like two different grades yes how would you apply uh the like version two before exporting so if you had uh if you had a looking and you wanted to the export both versions how would you do that um you can like say this clip I have three different versions built for this and if I go to my deliver page it will how do I do that it's been a while since I've done it this way uh okay I got to do individual clips and then there's a weirdly named setting called use commercial workflow and let me see if I can remember where that is place clips and separate folders okay just commercial workflow this will uh actually generate all of the versions so if I say use version name for folders and I add that shot to the render queue oops should have added all of the clips and we do just that one under this clip um source name clips and separate folders add to render queue I think this should do all of the versions yeah you see it's doing three passes so then over here at your export level you would have had well this is a kind of a weird um quirk in it it puts version one in a folder based on its timecode names and so that was version one and then version two and version three are up here in separate folders because they're with quick times they can't have the same folder I mean the same file name obviously so its solution to that is to make a little separate folder for it but yeah if you for whatever reason need to do multiple passes and render out multiple passes it's uh use commercial workflow I'm going to start using that all the time not in resolve but like when I'm bidding jobs you know I'll be using the commercial workflow today uh you know maybe we can get an extra few shackles uh for the job but is there a high quality resize function or is there a preference for resize yes there is it has a lot of different uh scaling options retiming and scaling if you look at scaling it has your um method whether or not you want to crop fits fill or stretch the namings are slightly different than flame and then the resizing filter has sharper smoother bicubic and bilinear and I just saw there's something in this new version they call a superscale which that's gotta be great it's gotta be it's you know up res it to 8k right yeah I don't I haven't really investigated that yet but it might actually be over here I think it was you know designed for you have an hd or an sd shot in your um 4k project I think it was somewhere in clip someone from the chat is saying it's in clip attributes yeah okay so here's clip attributes here it is superscale and it will you know double triple quad and uh let's see if we up that to 4k sharpness and noise reduction I haven't played around with this much to see what it is but even just the normal sharper scaling has worked as well as the flame upscaling for me well I'm going to be combining the commercial workflow with superscale and uh just blow my competition right out of the water um a couple more questions for you can you save render queue presets yes uh over here in render queue and like I have a nakey wwc preset that I made and it also has any presets like my normal workflow my preferred thing is source resolution with handles so I can just pop that up and then it automatically does individual clips programs with 48 frame handles disables the sizing there's probably a couple other settings there I usually turn off the rendered cache images just because oh here's something clever about resolve is that you can have your uh it also has a proxy workflow they call it optimized media and your normal default way of like say you had 6k footage you made a 1080 version in order to be able to work quicker when you go back to the render page and hit render it automatically assumes you want to go back to the high res uh you have to manually force it to say use the optimized media and use the pre-rendered medias so it uh it's pretty uh great and well I'd say it's pretty great it's just something to be aware of you know if you want the option of using that it can be slow another question from Jeff here can you speak at all on the subject of remote versions and how it could possibly compare to the connected conform workflow when it comes to yes yes there are um let's see what I can bring in here to demonstrate that what else do I have um let me get up here to color okay I'm going to bring in a clip here come on let's bring that in sources is that here okay so I have new timeline using selected clips I'm going to make this yoga and I'm going to duplicate this real quick duplicate timeline if I am going to use the same source material in multiple timelines there's a way to do uh it defaults to local versions meaning each clip's grade is um unique to that particular instance where as if you say use remote grades every time this clip appears in the project it will absorb your latest grade so if you change it in one it will automatically update in the other let me see if I have let me have a better example here with the um boating project here let me duplicate this okay well let's just say this is the 15 second version and it's we're going to take all of those out so if I were to go to the main sorry the uh interface is right over the place where I need to switch the timelines if I was using essentially default yeah in remote versions um it when I and I make a change on the 30 it will automatically update in the 15 now because I had this set up just with the local versions there is a way to say copy to a version okay copy wait my local versions there is a there we go I'm sorry copy local grades to remote okay so if I do that now all of these are going to be remote grades and you see this little pink icon here means this came from the same source footage and so now any um effect that I do yeah make that there shows up immediately in not just all of these clips but also in the cut down but it's not showing up yet because it's not using the remote version um can I load that one yeah okay it knows this was my source clip so it automatically absorbs that grade so then even if I grade it over here in the 15 make it green and I come back here to my original one all of those are going to be green cool so what I'll often do is start setting up a project with remote grades and then once I'm down into the fine tuning I'll copy all of those over to the local grades so that then you can fine tune individual things maybe the shot before after is different and so the grade is you know too much of a jump or something like that but it's pretty great if I did this and had a time warp in one of them and in the other even if I was tracking across that it will time warp with the tracking and everything will will still work cool yeah does anybody have any other questions for David anything else I think that's it for now man all right this was phenomenal David thank you so much great I uh sorry if everything seemed rushed there's just so much to get through in a short amount of time if anybody has any further questions I'm currently not booked this week so if you want to shoot me a ping we could even do screen sharing I'd be happy to show you more or answer your own if you want to share your resolved screen and show me a trouble you're having I'm totally open to that just ping me through my Facebook you can find me there in the logic group perfect David thank you very much um let me switch uh over to my screen here and we'll close out for the day okay all right first in uh in in the chat I put a registration link for next week's episode with me run um to pick up where I left off with upcoming logic live sessions naveen it works for the vanity in toronto I know you were all waiting for that one waited breath and then coming up in august we're already starting to line up some sessions for august we're going to interview fred from autodesk on august 2nd and august 9th we have randy macatee also from chicago and we have a bunch more of exciting announcements to make for logic live coming up so stay tuned for all of that this episode will be up on logic.tv as soon as I can get up there but uh all the previous episodes of logic live are up on logic tv including a bunch of other great content please be sure to subscribe to our youtube channel we're trying to get those numbers up as high as we can we totally appreciate that and of course thank you to sinesis ocean for sponsoring logic live solutions integration and support for digital content creators find out all about them at sinesis.io sinesis ocean supporting flame artists since 1997 let's going to do it for this week everybody I want to thank you all for tuning in and a huge thanks to david johns for taking us through resolve and that's it everybody we will see you next week