OMAP AND DAVINCI SOFTWARE FOR DUMMIES PDF

A journey into Opensource, Algorithms, etc,. A quest for absolute Freedom! Sharing Knowledge. The companion website was pretty impressive too. Proceeded to order it thru myTI, expecting that it might cost me, that too in dollars.

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Gordon was talking about transistors, but the rough upshot is that, for a given price, computers get twice as powerful about every two years. My mobile phone now has processing capabilities that would embarrass the mainframe I used at University, and that filled the top floor of a tower block, needed its own air-conditioning unit and three people just to keep it running.

Though I was a computer nerd, it was a place I studiously avoided. Basically, every generation of software bloats out enough to easily compensate for the increases in processing power. The most famous test of this was done in , when the same tasks were performed in Office , on a PC from , and in Office on a PC from If you have a MacBook Pro, you can use Resolve in its purely software form, but installing on a Mac Pro gives you the option of adding a secondary graphics card Blackmagic recommend a couple — Resolve will then use the GPU on that card for its calculations.

The software uses a USB dongle as its key, so you could keep a version on your laptop to try out ideas and then move to the full grading suite for the meat of the work. Resolve is a full, multi-user grading solution, so the first screen you get to is the log-in screen. Once you are logged in you have access to a variety of pages, selected by buttons running along the bottom of the screen. You can save custom configurations and create projects in the database.

A project can have any number of sessions associated with it. The second, Browse, page is all about filing. The Media Storage panel details directories where you can access or store clips. Clips available in these directories must be added to the Media Pool in order to use them in the grade. There are a variety of ways of doing this, from just doing it manually, or by using the information in an EDL to select clips from a directory or sub-directories.

The Conform page is really where the guts of EDL management come into play. There are usually two different approaches to transferring a project from your NLE of choice to the grading suite.

Each approach has its advantages and disadvantages. After the grade is done, the graded clips are re-linked into the timeline and the transitions and effects are re-applied.

Resolve allows for both approaches. It also includes support for some transitions so on. Resolve can then use that EDL to split the continuous movie into its individual clips. There are some simple editing features available in the Conform page as well, though I think I would always go back to the NLE. Each node is a full implementation of the colour corrector, including tracking, keys and so on.

This achieves the same results as having Primary Rooms, Secondary Rooms etc. Resolves Color page has panels for viewing the clip, complete with transport controls, variable split screen etc. The Primary tab of the colour correction controls has sliders for the normal functions of Lift, Gamma, Gain and so on. A notable exception to the user interface are colour wheels for controlling these functions.

Probably the most functional, and least expensive option is the Tangent Wave www. The three trackballs control Lift, Gamma and Gain as you would expect with the other Resolve controls mapped to soft buttons and encoders.

Resolve includes Photoshop style Levels Curves for Luminance and RGB as well as soft clipping for highlights and blacks and between these and the traditional, trackball functions, basic colour correction is very straightforward. Each node in your graph also has key outputs and inputs, so you can use the Qualifier output from one node to generate a key for another.

You could, for instance, use a node to generate a Qualifier based on skin tone, perhaps bounded using a shape or Window in Resolve parlance. Feed this key into two parallel nodes, invert the key in one node in the Key tab of the Color page and you have the ability to independently grade skin tones and the rest of the image.

As you would expect they have internal and external softness and can be scaled and rotated. There is no complicated setting of tracking points, just put a Window on some moving object in your scene and select Track Forwards or Backwards, of course from the menu. The Window will be magically glued to the moving object, rotating and scaling as necessary. The final image control tab is Blur, which perhaps counter-intuitively also has the sharpen controls.

Grabbing a still adds it to the Stills pane. A Still includes, of course, the reference image of the graded frame that the playhead was over when the still was grabbed. You can use split screen in the viewer to check this reference still against any current clip that you are working on.

However, the still also remembers the full node graph for the grade, so every still becomes a grading preset. You can drop a still into one of the memory slots in the pane below, or add it to the Powergrade tab.

Powergrades are available to you as a user whichever project you are working on so, for instance, if you have a particularly good day-for-night grade, you can make if a Powergrade and use it in any project.

The Gallery page gives you a more complete view of these stills. The Viewer gives you a full screen ish view of your graded clip, along with controls for that amazing tracker. Resolve will also use the power of your GPU to render your graded clips to disc. If you use Final Cut Studio, you get Color for free. Somehow, Resolve seems like a more coherent product.

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