![]() ![]() Adding a little bit of denoise to the matte finesse helps. ![]() Minor changes to saturation and luminance complete the effect. Making some tweaks he adds some width to the hue to get most of the sky. Using the eyedropper he samples a good portion of the sky and it’s pulling quite well. Hopefully, it’s a nice even blue sky that is easy to pull a key from. To do this you’ll have to key out the sky. Make sure you have the media that will serve as your replacement sky ready to go. Starting with your clip and a basic grade what you’ll want to do is add another node and then a layer node along with it. In a relatively quick tutorial from professional colorist Darren Mostyn, you’ll find out step-by-step how to perform a sky replacement in Resolve 17 using only the Color page. Nowadays you can just try to replace it using DaVinci Resolve. In some cases everything is nice and sunny, but a perfect blue sky doesn’t add too much drama or detail to the shot. It’s unfortunate because sometimes you only have one or two days to nail some exterior scenes and it can be make or break solely on what storms or clouds or lighting you can get. ![]() Among the things filmmakers never have control over is the weather. ![]()
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