![]() I like it especially for murky underwater scenes. ![]() I’ve used this tool for to fix various extreme lighting conditions. Using the RGB Mixer we’re just sending a proportion of one colour channel to drive pixels of a different colour. After all, we’re only dealing with three channels of ones and zeros which are destined to drive three different colour pixels on a display. However, chances are good that one of the other colour channels has data which you can use by feeding it into another colour channel’s output. Or if you do, you get a lot of boosted noise because you had to add gain to a low-level signal. But if there’s hardly any signal in a color channel to start with then you may never get a good balance. In post we do it by manipulating the raw data or with primary corrections. Have you ever come across a shot where you simply couldn’t get a good white balance because there was virtually no information in one of the colour channels? Most white-balancing methods rely upon putting varying amounts of gain (and/or lift) into the red, green and blue signals. The idea in all those platforms is simple: Feed the information from one colour channel into the output of another colour channel. ![]() I think in Baselight it’s called ‘Colour Matrix’ (please correct me if that’s wrong!). There’s a version of it in the Quantel ‘fettle’ curves, or whatever that’s called now days. I feel the RGB Mixer is rather underrated. ![]() Tutorials / 2019 New Year Marathon / Revisiting the RGB Mixer (in DaVinci Resolve) Seriesĭay 1: 25 Insights in 25 Days 2019 New Year Marathon! Different uses for the RGB Mixer tool
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