The results of my efforts are the usual insipid greyishness common with 'Log' formats. Aperture control, then has to be by means of a variable Neutral Density Filter. That lens peaks in it's performance at f8 to f11, and that is the aperture range it is set at, semi-permanently. I shoot with a Panasonic 'Lumix' GH-5 equipped with a re-purposed Tamron 70 to 210mm lens from the 1980's. It might seem to be the opposite of the 'Meisner' way of doing things, but it does have many similarities, except at the opposite end of the tonal scale. One solution has been to adopt 'Log' formats and extensively modify tones in-post.

Worse, part of my time is spent shooting video of bird-life with spectacularly white plumage, which fairly invites blown-out highlights. I live in New Zealand's South Island in an area well known for the ferocious power of it's sunlight. It is frequently caused by too much light. My problem is not generally with shadow detail.

However, as Miesner adjusts the curves to regain some of the clip’s shadow detail, it becomes much noisier - but that’s nothing he can’t fix using the temporal noise reduction effect.Īfter playing around with his shadows and highlights a little more, he is left with a fairly good-looking image that’s way more pleasing and interesting than what he started with.Īgain, there are many different methods and techniques that you can use regain the shadows in your clips, but if Miesner’s way of doing it speaks to you, try it out for yourself. Adjusting the curves will give the areas he’s selected more contrast.

Miesner begins his shadow recovery using Resolve’s ‘Scopes’ and ‘Curves’ panel. So it’s key to retain as much detail as possible. “There’s nothing really that’s the focus of the shot.” Having little detail in your shadows causes your clips to look flat and your key subjects begin to blend in with the rest image, which doesn’t make for a very eye-pleasing, or professional, aesthetic.

“You can't really see what going on,” Miesner says. The shot starting out has a pretty low shadow contrast.

Davinci resolve tutorial 12