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#DAVINCI RESOLVE LITE REDUCE NOISE HOW TO#
#DAVINCI RESOLVE LITE REDUCE NOISE FULL#

Highlight A/B will show you what you are affecting and where to look, but it’s no substitute for your eyes when deciding how much sharpening to apply! Once you’re found the right balance between Level and Coring, leave the Highlight mode and watch the image to decide how much Radius and Scaling to use. Anything that’s neutral grey is not being affected, anything that stands out with contrast is. Now you can now actually see what you’re doing. That’s where the Highlight A/B mode makes all the difference.Īdd some sharpness by bringing the Radius control down a little, and then activate the Highlight button at the top left of the viewer and switch to A/B mode at the top right. The problem is that it’s never easy to see what you’re doing with these controls and to get the balance between Level and Coring right. “Coring Softness” will create a soft transition around the threshold rather than an abrupt cut-off. Raise it to exclude finer details and keep only the larger ones. Resolve has tools to do this, the “Level” and “Coring Softness” controls at the bottom of the sharpening palette. You rarely want to sharpen all the details in a picture, just some of them – the eyes, for example, but not the skin. The key to precise sharpening and noise reduction in DaVinci Resolve

#DAVINCI RESOLVE LITE REDUCE NOISE FULL#

Full data and video levels in DaVinci Resolve – don’t clip your proxies and transcodes.

#DAVINCI RESOLVE LITE REDUCE NOISE HOW TO#

Unexpected clipping in DaVinci Resolve and how to avoid it.

The key to accurate shot match in DaVinci Resolve’s Color Trace.

The key to precise sharpening and noise reduction in DaVinci Resolve.

I work for Blackmagic as a Master Trainer, but Blackmagic hasn’t commissioned these articles, they’re my own initiative. I’ve tried to provide sufficient background information to make them clear for beginners as well as professionals, so pick, skip and choose whatever you find useful! Each of them is independent with no relation to the others. The four articles are bit of a mixed bag, some of them working tips, others more fundamental as to how Resolve works.

They don’t often come up in tutorials and I’ve discovered in the course of my teaching that even some confirmed editors and colorists are not aware of them. This short series of articles is about various aspects of Resolve that are important but not as well known as they should be.