Interesting approach! One question though, what's the reasoning behind piping the alpha channel through all the subsequent nodes instead of leaving it going straight from node 1 with the key to the alpha output? Seems to be a lot of busy work for nothing, as the result should be the same.
Oh and one more thought, it would have been nice to show the color match option of Resolve in comparison on a few shots. Sometimes it gets things quite right and sometimes it misses completely, but it's a viable option in some cases.
You're 100% right. In fact, I am going to pin your comment. For anyone reading this, you can take the alpha from the first node, and drag it over to the right side and just keep all the other nodes separate (connected by the "green" connections) - the way I showed here may have been more visual than anything else, but I agree it's not practical.
RE: the color match - I thought about including this. However, when I edited this down, it was already longer than I expected, and because the results are inconsistent, I decided to not include it. But again, I agree with you, when it works...it works well.
@@PostColorGear Fair enough, one can see the advantage of your method and the repeatability for any footage without the comparison to the color match. :)
Thank you for sharing your knowledge in this video, it has been very helpful for me. I needed to composite a portal which was way brighter than my shots and this helped match it very well. You're the best!
Cool Dave, I really like when someone takes Photoshop techniques and apply them into a resolve world. Composite modes and blending are something that is under utilized. I have used the grey color swatch on a layer and gotten different blend modes with the grey on the bottom layer. If you pipe that with parallel node on the bottom of the layer mix you can blend them together. Not anything to do with what you did here, just a way I have used grey patch in a composite blending mode. The green screen girl is not lit very evenly, I think I would have added a power window rectangle ( soft ) and flagged her sweater ( bottom half ). It looks to me that the key light is hitting her face with a lot less intensity. It would involve one more track, but getting a rim light on her hair from the lamp behind her would sell this as well. This being a great reason why people should pick the background for the composite before shooting the green screen so they can match the lighting angles to the practicals. Great tutorial - Thanks Dave.
Great vid. I use a ton of green screen footage, and as we all know, this can come with a huge variance in quality on different clips. So I'm always looking for any way to improve the look of composite footage. I've never seen anyone use this method, but I can already see how it'll be useful with some of my footage. There are sooo many ways in Resolve to achieve/improve the end effect you want with compositing, I love to see different methods from different editors. Thanks for this!
That's a great tip for using the gray layer for balancing hue and saturation. Q: Is there a way to mimic light wrap in the Color page, or does that require the Fusion page?
You just reminded me that I wanted to explore this. There is a way, but may be a bit to explain here. I probably will address this in an upcoming video.
I've gotten really annoyed with Davinci most times the background is on top for no reason it very annoying I can repeat the exact same process then magically it works!
Interesting approach! One question though, what's the reasoning behind piping the alpha channel through all the subsequent nodes instead of leaving it going straight from node 1 with the key to the alpha output? Seems to be a lot of busy work for nothing, as the result should be the same.
Oh and one more thought, it would have been nice to show the color match option of Resolve in comparison on a few shots. Sometimes it gets things quite right and sometimes it misses completely, but it's a viable option in some cases.
You're 100% right. In fact, I am going to pin your comment. For anyone reading this, you can take the alpha from the first node, and drag it over to the right side and just keep all the other nodes separate (connected by the "green" connections) - the way I showed here may have been more visual than anything else, but I agree it's not practical.
RE: the color match - I thought about including this. However, when I edited this down, it was already longer than I expected, and because the results are inconsistent, I decided to not include it. But again, I agree with you, when it works...it works well.
@@PostColorGear Fair enough, one can see the advantage of your method and the repeatability for any footage without the comparison to the color match. :)
Thanks, Dave. 👍 I'm bookmarking this for reference, as I'm sure I'll forget!
You're welcome! And I hope it's helpful! 😃
Thank you for sharing your knowledge in this video, it has been very helpful for me. I needed to composite a portal which was way brighter than my shots and this helped match it very well. You're the best!
Cool Dave, I really like when someone takes Photoshop techniques and apply them into a resolve world. Composite modes and blending are something that is under utilized. I have used the grey color swatch on a layer and gotten different blend modes with the grey on the bottom layer. If you pipe that with parallel node on the bottom of the layer mix you can blend them together. Not anything to do with what you did here, just a way I have used grey patch in a composite blending mode.
The green screen girl is not lit very evenly, I think I would have added a power window rectangle ( soft ) and flagged her sweater ( bottom half ). It looks to me that the key light is hitting her face with a lot less intensity. It would involve one more track, but getting a rim light on her hair from the lamp behind her would sell this as well.
This being a great reason why people should pick the background for the composite before shooting the green screen so they can match the lighting angles to the practicals. Great tutorial - Thanks Dave.
Well said. Appreciate the comment. Those gray patches definitely come in handy, that's for sure.
thanks, just tried your tutorial - works really nicely
Glad it was helpful! Thanks for the comment!
Hello mate, this was exactly what I was looking for. You've got a new subscriber. Thank you! 👊
this is great. it ll take my green screen scenes the the next level
Great vid. I use a ton of green screen footage, and as we all know, this can come with a huge variance in quality on different clips. So I'm always looking for any way to improve the look of composite footage. I've never seen anyone use this method, but I can already see how it'll be useful with some of my footage. There are sooo many ways in Resolve to achieve/improve the end effect you want with compositing, I love to see different methods from different editors. Thanks for this!
You're welcome! Thanks for watching, and commenting!
THIS IS A GREAT TECHNIQUE HOLY!
This is genius.
THANK YOU THIS IS WHAT IVE BEEN LOOKING FOR
Really great tutorial. Very useful. Thank you.👍👍
Thank you for posting, very helpful video
Excellent; thanks for posting.
That's a great tip for using the gray layer for balancing hue and saturation.
Q: Is there a way to mimic light wrap in the Color page, or does that require the Fusion page?
You just reminded me that I wanted to explore this. There is a way, but may be a bit to explain here. I probably will address this in an upcoming video.
very helpful, THNX!
Great stuff, thank you. Subscribed.
Awesome thank you!
Thank you 💗
Excellent! Thank you :)
You're welcome 😃
What software are you using? This is phenomenal!
Davinci Resolve!
@@PostColorGear Thank You 😊
I've gotten really annoyed with Davinci most times the background is on top for no reason it very annoying I can repeat the exact same process then magically it works!
Resolve is so shitty that there is crazy chattering even when the subject barely moves... WTF??????