In this Chapter shows you the tools only accessible if you are using DaVinci Resolve Studio, the paid version of DaVinci Resolve. You will learn when you would want to choose Spatial Noise Reduction over Temporal Noise Reduction. Plus, what the various pull-downs and numerical entry boxes do for you.
- Temporal noise reduction works a little differently than the spatial noise reduction we just talked about. Spatial noise reduction is looking at a single frame, individually, and examining, looking for areas of noise, whereas temporal noise reduction takes the current frame and compares it to the surrounding frames, looks for where it thinks is noise, and then tries to kind of average them out or remove those areas to reduce the noise for us. Let's take a quick look at our options when we're using temporal noise reduction.
By default, it's turned off, because the number of frames is zero. Remember, temporal noise reduction is looking at the frames around the current frame, so we need to either select one or two in order to activate temporal noise reduction. When we do, these tools will become active. So I'll go ahead and I'll select one. Now, how do you decide whether you select one or two? Well, it's a combination of quality, speed, and what's actually going on on the image.
The higher the number, the more quality you'll get, the slower your playback performance, the longer your render times. The thing is, you also want to take a look at the image itself. Let me turn this off. So I'll set it to zero, and let's look at her again. And I'm going to play her through. And how much movement is there? There's a fair amount of movement, but it's not like NASCAR movement, right? It's not like high-speed-sports kind of movement, and so what happens is, if you go to two frames for analysis, if there's a lot of, really lots of motion blur going on in your image, going to two frames will actually kind of reduce the quality of your image, because it's going to see that motion blur as noise, and try to remove it, where you actually want to keep it.
In those cases, you want to set it to one. In other cases, like this, where there's very little movement, or you don't really have to worry about motion blur, then it's appropriate to kick it up to two. Now, we can further refine our algorithms, first by using the Motion Estimation Type. When we have Faster selected, it's, of course, quicker to render, quicker to play out, not quite as accurate as when we select Better. Better will introduce a big performance hit on playback, a big performance hit on rendering, but it's a lot better at finding motion blur and not trying to de-noise the motion blur.
Now, once we make this selection, we can then further refine that by saying, yeah, we've got huge amounts of motion happening in here by selecting Large, we've got some motion happening by selecting Medium, or there isn't much happening at all, all of this will help DaVinci Resolve refine its noise reduction. In this particular image, I would set it for Medium. Now, if I hit Play, let's take a look at what our playback speed is. And I'm still getting 23976. Why? Because, like spatial noise reduction, these settings tell the algorithm how to act, but until we actually set a threshold number, nothing's going to happen.
So we need to bring this number off of zero and start pulling it up. We can pull it all the way up to 100. If I go ahead and do that, and Motion is, again, another way of refining through DaVinci Resolve how much motion blur is in this image. The higher the number, the more motion blur will be removed. There isn't a lot in here, but I don't really think I need a high number. Let's go ahead-- Let's just kick these both up to 100, see what the heck happens. I'll hit Play, and (chuckles) yeah. Now we're back to that spatial noise reduction number of around three and a half frames per second.
That's when we go and kick on the Smart User Cache, and now it's going to render out our clip. All right, there we go, I'm going to go ahead and hit Play. And let's Shift+F, and yeah, we're getting full-time playback, and what kind of noise reduction am I seeing? And as I look, yeah, on her neck, yeah, right there, you can see there's not a lot of noise at all in there. This is definitely the way we wanted to go. Temporal noise reduction on this shot is way more effective than spatial noise reduction, and it really even looks better when I look on my reference monitor.
So I'm really happy. Now, I've pushed these settings really hard. I almost never take those settings and put them up at 100. It usually does more damage to the image than it does help the image, so I tend to avoid it. In the movie where I talk about noise reduction tips, I'll share with you kind of my favorite starting settings, where I begin my noise reduction, and then refine from there, and also talk about a couple of tips and tricks for if you have to go aggressive on your noise reduction. How can you do that without completely destroying the entire image?
Indie feature film and broadcast colorist Patrick Inhofer puts these more sophisticated features to practical use—color-grading shots from a documentary. Along the way, he covers the Resolve Studio databases, media management, advanced primary and secondary color-correction techniques, and even Resolve performance optimization. Follow along with the three "In Action" chapters to learn how to create a base grade, match shots, and build cinematic looks. Plus, get a glimpse into the advanced features available only in DaVinci Resolve Studio, such as motion effects and noise reduction, to help you decide if you need to upgrade to the paid version of DaVinci Resolve.
It doesn't matter what kinds of projects you shoot or edit. This training will help you develop your color correction "muscles" and deliver better results more reliably every time.
- Understanding Resolve's database structure and options
- Managing and relinking media
- Using the advanced primary and secondary tools
- Working with the sizing menu
- Advanced tracking
- Comparing shots in split-screen
- Reducing noise
- Increasing playback performance in DaVinci Resolve
- Rendering, delivering, and archiving footage
- Applying Resolve's tools to real-world projects
- Learning a repeatable workflow for the entire color grading process
Skill Level Advanced
Premiere Pro: Documentary Editingwith Jason Osder3h 48m Intermediate
DaVinci Resolve 12 Essential Trainingwith Patrick Inhofer15h 43m Beginner
1. Advanced Database Concepts
2. Additional Media and Edit Page Concepts
3. Advanced Color Page Concepts: Primary Corrections
4. Advanced Color Page Concepts: Secondary Corrections
5. Studio-Only Tools and Workflows
6. Increasing Playback Performance
7. Color Management and ACES
8. Rendering, Delivering, and Archiving
9. In Action: Cold Open—the Base Grade
10. In Action: Cold Open—Shot Matching
11. In Action: Building a Look
Cold open: Closing thoughts1m 32s
12. What's New in Resolve 12.5
- Mark as unwatched
- Mark all as unwatched
Are you sure you want to mark all the videos in this course as unwatched?
This will not affect your course history, your reports, or your certificates of completion for this course.Cancel
Take notes with your new membership!
Type in the entry box, then click Enter to save your note.
1:30Press on any video thumbnail to jump immediately to the timecode shown.
Notes are saved with you account but can also be exported as plain text, MS Word, PDF, Google Doc, or Evernote.