Issue link: https://digital.copcomm.com/i/1382552
48 C I N E M O N T A G E T E C H matches the reference shot, or which gives the preferred result. "It will analyze the different shots and recalculate based on the target you select. Once you commit to a look, you can send it back to DaVinci Resolve for further refining," said Babinec. "This is a super powerful feature that helps you refine a look faster. Instead of starting from scratch on each clip, we can start from a determined point and move for- ward. Sometimes the processing gets us 50% of the way there, sometimes 80%, and sometimes it's dead on. I can only imagine that it's just going to get better and better." Step one is properly identifying / t r a n s f o r m i n g t h e d i f f e r e n t s o u r c e material so that it's being displayed as intended. Step two is look development. "When a DP says, 'I want this particular look' and they send over some screen- s h o t s a s r e f e r e n c e , u s i n g t h e L o o k panel inside the Colourlab Ai inter- face, you can take that and basically propagate that over multiple clips really fast," said Babinec. This was very effective while working with a director recently on a non-theat- rical feature. Babinec and the director decided on looks for different scenes — nighttime, dark scenes, suspenseful scenes, romantic scenes — and then The Baselight interface. Below, perspective training in the program. P H O T O : B A S E L I G H T