Issue link: https://digital.copcomm.com/i/1543164
Contact Us Blackmagic Design 333 N. Glenoaks Boulevard, Suite 250, Burbank, CA 91502 Phone +1 408 954 0500 Fax +1 408 954 0508 Email info-usa@blackmagicdesign.com We'd cut these in to accentuate specific beats, like when Mitski reaches longingly into the distance in 'Buffalo Replaced.'" "In the edit and color pages, we used a combination of effects, everything from directional blur, to motion trails, to tilt shi• blur, to create a unique vocabulary for the film," Montez continued. "It was important to not rely on an external plugin, instead using DaVinci Resolve Studio to create something custom and make sure that each moment truly called for it." Montez further underscored how essential DaVinci Resolve Studio's integrated effects tools were to his creative editing process, along with his collaboration with Thomas: "The fact that my effects work was preserved for color was huge. I spent a lot of time getting very granular about opacity levels, glows, etc. to make things work in the edit. Brandon having direct access to that prevented a lot of headaches. One of the great things about working in the same post house as the film's colorist, and both in DaVinci Resolve Studio, is that we were able to continue effects development in color. A•er he'd hit a certain shot, we'd look at the color's impact on the overall effect, and it became an ongoing creative conversation that could be actively addressed in the moment, rather than having to roundtrip back and forth from different programs to see the result." Thomas echoed Montez's sentiments: "For certain shots, we did things like noise reduction inside of the Fusion page. Tools like Magic Mask and Depth Map were used to comp together or isolate and separate backgrounds both in grading and in the effects work Ben was doing. The flexibility of being able to simultaneously work from the Fusion page, edit timeline and the color page gave us a lot of options on how to achieve the desired impact." "The flexibility of being able to simultaneously work from the Fusion page, edit timeline and the color page gave us a lot of options on how to achieve the desired impact."