دانلود Ripple Training DaVinci Resolve Core Training آموزش داوینچی ریزالو

With a running time of 7 hours, our goal is give you the complete picture of the color grading process from initial import to final rendering and output. This tutorial covers both the commercial version of Resolve 8 and the Lite version.

Topics include:
Resolve Interface Tour Part One:
 - Introduction - Alexis Van Hurkman
 - Launching Resolve
 - The User Login Page
 - Resolve's Database
 - The Project List
 - The Config Page
 - The User List
 - The Configuration List
 - The Project Tab
 - The Settings Tab
 - The Autosave Tab
 - The Source Tab
 - The LUTS Tab

Resolve Interface Tour Part Two:
 - Loading a Config
 - Making Changes to the Configuration
 - The Browser Page
 - Adding Volumes to the Media Storage List
 - The Clip Details Pane
 - The Media Pool
 - The Conform Page
 - The Timeline Management List

Resolve Interface Tour Part Three:
 - The Color Page
 - The Viewer
 - The Gallery Page
 - The Format Page
 - The Deck Page
 - The Record Tab
 - The Revival Page
 - The Scene Detect Page

Setting up Resolve for Importing:
 - Differences Between Resolve & Resolve Lite
 - Adding a New Data Base
 - Adding a User
 - Importing an XML Project
 - The One Project Setting That Cannot Be Altered
 - Video Monitoring Settings
 - The Timeline Format Options
 - Using Low Resolution Proxies

Importing XML Files:
 - Importing an XML Project
 - Importing XML Files from the Timeline Management Pane
 - Automatically Set Project Settings
 - Automatically Import Source Clips into Media Pool
 - Locating the Media Folder for Import
 - Locating Media Best Practices
 - Understanding the Master Session
 - Viewing the Edit Timeline
 - Navigating the Project
 - How Media is Handled by Resolve
 - Saving the Project

Importing EDLs:
 - Setting the Timeline Conform Options
 - Locating the Media in the Browse Page
 - Importing Clips into the Media Pool
 - Importing a Folder & Subfolders into the Media Pool
 - Adding to the Media Pool - Best Practices
 - Removing Clips from the Media Pool
 - Adding Folders & Subfolders Based on EDLs
 - Creating a Master Session
 - Optional EDL Workflow
 - Precomforming an EDL

Automated Scene Detection:
 - The Scene Cut Detection Command
 - The Start Detection Button
 - Analyzing the Graph
 - Setting the Threshold of Confidence
 - The Scene Details List
 - Verifying the Graph Data
 - Looking for a Pattern
 - Weeding Out "Non-Cuts" from the Scene
 - Searching for Missed Cuts
 - Adding a Cut
 - Splitting the Media File into Shots

Navigation:
 - Mouse Navigation
 - The Mini Timeline
 - The Thumbnail Timeline
 - Identifying Clips in the Thumbnail Timeline
 - Changing the Thumbnail Frame
 - Organizing the Thumbnail Timeline
 - C-Mode Arrangement
 - A-Mode Arrangement
 - Understanding Playhead Relationships

Transport Controls:
 - The Onscreen Controls
 - Setting a Play Range
 - Controlling Resolve via Keyboard
 - Working with a Control Surface

Customizing the Color Page GUI:
 - Hiding the Timeline
 - Changing the Node Graph View

Overview of the Color Page:
 - Anatomy of the Color Page
 - Introducing the Node Graph

Unmix Tab
Video Scopes
Adjusting Contrast:
 - Removing a Grade
 - The 3-Way Color Tab
 - Alternate Method for Changing Contrast
 - How Resolve Processes Color
 - Adjusting Contrast in the Primary Tab
 - Adjusting Luma (Y) Only
 - The Benefit of Y-Only Adjustments
 - Benefits of Master Contrast Adjustments

Using the Lum Mix Slider
Reset
Color Part One:
 - Adjusting the Gain Highlights
 - Making Extreme Color Adjustments
 - Resetting the Color
 - The Undo Stack - Shot by Shot Undo
 - The Redo Command
 - Working in the Primary Tab
 - Using the Control Surface to Adjust Lift, Gamma & Gain
 - Using Sliders for Lift, Gamma & Gain
 - Using the Offset Sliders
 - Adjusting Saturation
 - Adjusting Hue
 - Resetting the Sliders
 - Accelerating a Slider Action
 - Adjusting the Sensitivity of the Control Surface

Color Part Two:
 - Enabling and Disabling Grades

Curves Part One:
 - Custom Curves
 - Un-Gang Custom Curves
 - Altering the Luminance Curve
 - Using the Custom Curve Sliders
 - Custom Curve Creative Looks
 - Fine-Tuning the Curve
 - Affecting Specific Regions in the Image
 - Using the YSFX Controls

Curves Part Two:
 - Using the Soft Clip Controls
 - Using the High Soft Control
 - The Dangers of Over-Compressing with High Soft
 - Un-Ganging the Soft Controls
 - Using the Low Soft Control
 - 2 Ways to Affect the Shadows
 - Adjusting the Threshold of Hard Clipping
 - The Propagation of Image Data from Node to Node

Curves Part Three:
 - Working with Hue Curves
 - Making Hue vs Sat Curve Adjustments
 - Alternate Method of Adding Control Points
 - Making Hue vs Hue Curve Adjustments
 - Using Bezier Curve Controls
 - Numeric Input Control
 - Using the Primary and Secondary Color Buttons
 - Making Hue vs Lum Curve Adjustments

Curves Part Four:
 - Making Lum vs Sat Curve Adjustments
 - Broadcast Safe Considerations
 - Using the Lum vs Sat Curve to Legalize Saturation
 - Desaturating the Shadows
 - Desaturating the Highlights

RGB Mixer:
 - Preserve the Luminance Level
 - Multiplying & Dividing a Color Channel
 - Using the RGB Mixer to Fix Problems
 - To Monochrome Checkbox

HSL Qualification Part One:
 - Creating a Serial Node
 - Isolating Part of the Frame by Sampling
 - Enabling the Highlight Checkbox
 - Adding Color Samples with the Color Picker
 - Subtracting Color Samples with the Color Picker
 - Softening the Edges of the Sample
 - Performing Targeted Correction on the HSL Selection
 - Using the HSL Slider Controls
 - Using the Blur & Shrink Controls

HSL Qualification Part Two:
 - Limiting Curves
 - Converting a Primary Adjustment into a Secondary Adjustment
 - Inverting the HSL Qualifier
 - Adding an Outside Node

HSL Qualification Part Three:
 - The Luma Qualifier Tabs
 - Creating a Stylized Look in the Shadows
 - Other Options for the Luma Qualifier
 - Choosing a Color Preset for HSL Qualification
 - Resetting the Qualifier

Power Windows Part One:
 - Creating Power Windows
 - The Window Tab
 - Adding a Circular Power Window
 - Manipulating the On Screen Control (OSC)
 - Making Corrections Inside the Shape
 - Making Corrections Outside the Shape
 - Softening the Vignette
 - Rotating the Shape
 - Using the Settings Sliders

Power Windows Part Two:
 - Working with a Polygon Shape
 - Adjusting the Shape of the Polygon
 - Working with a Linear Shape
 - Adding a Node and a Shape in One Command
 - Working with a Curve Shape (AKA Power Curve)
 - Adjusting Individual Control Points
 - Using the Window Outline Control

Power Windows Part Three:
 - Using DaVinci's Phenomenal Motion Tracker
 - Viewing the Result of the Track
 - Adjusting the Shape
 - Motion Tracking with Occlusion
 - Keyframing a Track
 - Using the Interpolate Controls

Power Windows Part Four:
 - Creating intersecting Masks to Solve Problems
 - Setting the Mask/Matte Control
 - Using a Power Window and HSL Qualifier in Conjunction

Multi-node Grading Part One:
 - Resetting Nodes & Grades
 - Resetting an Entire Grade
 - Resetting Only the Currently Selected Node
 - Resetting All Nodes
 - Managing Multiple Corrections
 - Disabling a Node
 - Maximizing the Node Tree (Clip Tab)
 - Scrolling & Panning in the Node View
 - Node Tooltips
 - Rearranging Nodes
 - The Construction of the Node Tree

Multi-node Grading Part Two:
 - Exploring Other Node Structures
 - The Parallel Node Structure
 - Rules that Govern Node Construction
 - Getting Back to Square One

Multi-node Grading Part Three:
 - Order of Operations
 - The Append Node Command
 - Understanding Node Numbering
 - Ramifications of Downstream Keying
 - Adding a Node - Corrector
 - Anatomy of a Corrector Node
 - Connecting Key Outputs to Downstream Key Inputs

Multi-node Grading Part Four:
 - Creating a Layer Node
 - Adding a Composite Mode to the Layer Mixer Node
 - Creating Instant Sex (Overlay Mode)
 - Adding Blur with the Blur Tab
 - Using the Post Mixing Gain Slider
 - Node Workflow Summary

Still Store Part One:
 - Overview of the Still Store
 - Shot Matching
 - Clearing the Still Store
 - Grabbing a Still
 - Adjusting the Split in the Preview Window
 - Choosing a Wipe Type
 - Toggling the Blend Mode
 - Full Frame Flipping
 - Comparing Shots in the Timeline
 - Comparing Online to Offline Clips
 - Copying a Grade from a Still Store Image

Still Store Part Two:
 - Still Store Management
 - Labeling Still Store Images
 - Using the One Still Per Scene Command
 - Working in the Gallery Tab
 - Importing Stills from Other Data Bases
 - Grabbing Stills from All Clips in the Timeline
 - Sorting Stills
 - Importing Stills
 - Exporting Stills
 - The Powergrade Tab

Grade Management Part One:
 - Understanding Linked Media
 - The Workflow Benefits of Linked Shots
 - Scenarios when Linked Media is not so Helpful
 - Using Batch Unlinking (Warning!)
 - Using Batch Copy
 - Introduction to Local vs Remote Versions

Grade Management Part Two:
 - Copying Node Settings
 - Benefits of Copy/Pasting Node States
 - Copying Entire Grades from One Shot to Another
 - Copying a Grade from a Still Store Image
 - Copying Nodes from the Node Graph
 - Applying Settings from the Node Graph

Grade Management Part Three:
 - Appending a Node Graph
 - Using Copy Grade Preserve Number of Nodes
 - Using Memories
 - Benefits of Using Memories

Grade Management Part Four:
 - Introduction to Group Grade Management
 - Adding Shots to a Group
 - Things to Watch Out For When Using Groups
 - Removing a Shot from the Group
 - Changing the Ripple Mode
 - Changing the Ripple Mode to Relative
 - 2 Things to Remember when Using Groups

Grade Management Part Five:
 - Using the Track Tab to Manage Grades
 - Benefits of Using the Track Tab
 - Benefits of Using the Unmix Tab

Versions:
 - Creating a New Version
 - Relinking Clips That Have Been Versioned
 - Adding Another Version
 - Toggling Between Previous Version and Next Version
 - Understanding Remote Versions
 - Versioning Best Practices

Blur Tab:
 - Applying Blur, Sharpen or Mist
 - Limiting Blur, Sharpen or Mist
 - Adding Sharpening to the Image
 - Altering the Horizontal/Vertical Ratio
 - Sharpening the Image
 - Using the Coring Controls
 - Using the Softness Slider
 - Using the Mist Controls
 - Benefit of Using the Mist Controls

Keyframing Part One:
 - Marks and Dynamics
 - A Brief History of Marks
 - Using Static Marks to Denote Cuts
 - Limitation of Marks
 - Introduction to Dynamic Marks
 - Identifying Mark Types in the Clip Tab
 - Deleting Marks

Keyframing Part Two:
 - Applying a Shape to Set Up Dynamics
 - Animating a Shape with Dynamic Markers
 - Animating the Power Curve
 - Automatic Mark Generation Toggles
 - Changing Marker Velocity

Keyframing Part Three:
 - The Track Tab Revisited
 - Altering the Grade on a Per-Clip Basis
 - Adding EDL Marks to Track
 - Deleting EDL Marks
 - Adjustments That Cannot be Animated
 - Controlling Which Adjustments are Animated
 - Adding Marks Globally Using the Master Settings
 - Making Specific Adjustments to a Corrector
 - Locking the Animation

Format Page Part One:
 - Introduction to the Format Page
 - A Quick Tour of the Format Page
 - HFlip and VFlip Toggles
 - 3D Controls
 - Source Blanking
 - Affecting Individual Clips Using the Input Tab
 - Affecting All Clips in the Project using the Output Tab
 - Using the PTZR Settings
 - Saving Input Presets
 - Deleting a Preset

Format Page Part Two:
 - A Detailed Look at the Output Tab
 - The Blanking Sliders
 - Output Blanking Session Sub-Menu
 - Saving Blanking Presets
 - The Output Format Controls
 - Customizing the Pixel Aspect Ratio

Format Page Part Three:
 - The Slate Tab
 - Adding Text Options
 - Editing the Slate and Text

Format Page Part Four:
 - The Timeline Format Controls
 - Resolve's Scaling Algorithm
 - Setting Your Timeline Resolution to Low Resolution Proxies
 - Enable Video Field Processing
 - Image Format Scaling
 - Video Monitoring vs Timeline Format

Rendering Part One:
 - The Render Window
 - Setting a Render Range
 - Defining the Render Properties
 - Roundtrip Workflow Easy Setup
 - Choosing a Destination Path
 - Creating a Custom Easy Setup
 - Determining Naming Conventions
 - Choosing a Rendering Mode: Source or Target
 - Creating a Custom Prefix, Suffix, and Number of Digits from Source
 - Setting the Frame Rate, Output Size & Output Type
 - Enable Video Field Rendering
 - Rendering Each Clip to a Seperate Directory
 - Render Clip with Unique File Name
 - The Use Commercial Workflow Option

Rendering Part Two:
 - Rendering Speed
 - The Flat Pass Options
 - Source Directory Preserve Level
 - Adding a Folder to a Volume
 - Defining a Destination Suffix
 - Batch Requests
 - Adding Batch Requests to the Render Queue

Rendering Part Three:
 - Revisiting the Conform Page
 - The Export Session Window
 - Saving an EDL