AJT ACADEMY

01 Opening a Resolve Archive

02 Setting Up Project Backups

03 Understanding the Grading Workflow

04 Setting Tonal Range and Contrast

04.1 Normalizing with Master Wheels

04.2 Setting Contrast with Increased Flexibility

05 Balancing Colors

06 Understanding Log Controls and Primaries Wheels

2.1 Building a Shot-matching Strategy

2.2 Organizing Shots Using Flags and Filters

2.3 Applying Shot Match

2.4 Matching Shots Using Stills

2.5 Comparing and Matching Shots Manually

2.6 Using Split Screen Views to Compare Multiple Clips

3.1 Controlling the Viewer's Eye

3.1.1 Mimicking a Shallow Depth of Field

3.1.2 Focusing Attention with Vignette copy

3.2 Sharpening Key Elements

3.3 Tracking Obscured Objects

3.4 Fixing Overcast Skies

3.4.1 Using Windows to Limit Qualifiers

3.4.2 Adding Atmosphere

3.5 Warping Colors to a Target

3.6 Enhancing Skin Tones with Face Refinement

3.7 Adjusting Skin Tone Manually

4.0 Conforming from an XML Timeline

4.1 Importing an XML Timeline

4.2 Syncing an offline Reference

4.3 Conforming a Timeline

4.4 Associating HQ Footage with a Timeline for Online Workflows

4.5.1 Maximizing the Dynamic Range

4.5.2 Changing the Output Color Space

4.5.3 Normalizing Exposure with Gamut Mapping

4.5.4 Understanding the Timeline Color Space

5.1 Understanding Node-Based Grade Compositing

5.2 Understanding the Importance of Node Order

5.2.1 Adjusting Contrast and Luminance on Nodes

5.3 Creating Separate Processing Pipelines with a Parallel Mixer Node

5.4 Visualizing Mixer Nodes

5.5 Compositing Color Effects with the Layer Mixer Node

5.5.1 Using Key Inputs and Outputs to Share Matte Data Across Nodes

5.5.2 Impact of Dominance Color Grades on Surrounding Nodes

6.1 Copying Grades from Clips and Stills

6.2 Working with Local Versions

6.3 Appending Grades and Nodes

6.4 Saving Grades for Other Projects

6.5 Copying Timeline Grades Using ColorTrace

6.6 Copying Grades Using the Timelines Album

7.1 Preparing Media Using Scene Cut Detection

7.2 Creating a Group

7.3 Applying Base Grades at the Pre-Clip Group Level

7.4 Making Clip-Specific Adjustments at the Clip Group Level

7.4.1 Intermediary Matching Between Clips

7.5 Automatically Tracking People and Features

7.5.1 Masking Physical Features

7.5.2 Fixing Difficult Tracks

7.6 Creating a Unifying Look Using the Post-Clip Group Level

7.6.1 Adjusting Clips After a Post-Clip Grade

7.7 Applying Timeline-Level Grades and Effects

7.7.1 Adding Data Burn-In to the Viewer and Final Video

8.1 Changing Timeline Resolutions

8.1.1 Reframing Individual Clips

8.1.2 Sampling Visual Data with Node Sizing

8.1.3 Creating Cover-Ups with Patch Replacer ResolveFX

8.2 Using Keyframing

8.2.1 Changing Color Values Over Time with Dynamic Keyframes

8.2.2 Applying Dynamic Attributes

8.3 Applying Noise Reduction

8.4 Optimizing Performance with Render Cache

8.4.1 Utilizing User Cache Modes

8.4.2 Configuring Cache Quality

8.4.3 Clearing a Cache

9.1 Adjusting RAW Settings at the Project Level

9.2 Adjusting RAW Settings at the Clip Level

9.3 Grading High Dynamic Range Media

9.3.1 Correcting Scenes with a Wide Dynamic Range

9.4 Setting Up a Render Cache for RAW Media Projects

10.1 Delivering Projects

10.2 Understanding the Render Workflow and Presets

10.3 Creating Custom Renders and Saving Presets

10.4 Configuring a Timeline for Digital Cinema

10.5 Exploring Advanced Render Settings