Sure, we still need a good understanding of Resolve to achieve the desired look. This is why the Blackmagic Resolve Micro Panel is so appealing. The plethora of on-screen controls, however, can be inefficient or inconvenient to users, particularly shooters who naturally relate better to cameras and lenses that we can touch and feel than we do to a GUI screen, with awkward overlapping buttons the size of pinpricks. Resolve’s vast capabilities and inherent complexity have a learning curve that is not particularly steep or onerous. Today, whether we’re shooting a Hollywood feature, national commercial, or high-end documentary, chances are Resolve will be playing a vital role in determining the look of our show, for live grading and color-correction, coordinating rear projection and other on-set visual effects, and previewing and tweaking of camera and viewing LUTs. If you work as regularly in Resolve as I do, the panel is a godsend and will improve your workflow efficiency many times.Īs the world’s most widely used color-corrector and grading tool, Davinci Resolve has recently found a place on sets and in day-to-day production.
The robust panel, featuring three large trackballs, is compact enough to carry onto a set without drawing unnecessary ire. (Of course, large discrepancies in color or density during image capture, especially within a scene, should be avoided, as seriously cranking up one or more color channels in post may lead to objectionable noise and unacceptable pictures.)įor shooters, the Resolve Micro Panel is a natural tactile extension of how we interact with our images. Luckily, we have a range of powerful and inexpensive (or free) color correctors at our disposal that can make easy work of minor variations in color and grey scale from scene to scene.
The communication of genre is a filmmaker and shooter’s primary responsibility, and so proper grading, color-correction, and LUT management on set are critical to achieving our storytelling goals.ĭue to the increased power and capabilities of today’s cameras, virtually every production requires some degree of grading and color-correction. Deliberate overexposure, say, by blowing out windows and highlights, can contribute to a sci-fi ethereal look, while deliberate underexposure, by lowering the black level and deepening the shadows, can add serious drama to an otherwise flat, lackluster scene.
The look and feel of our images are critical to communicating the intended genre to our viewers. For Shooters, a Tactile Extension of How We Really Work
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