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These controls let you adjust the details of how the flickering animates.
— Randomness Scale: This slider lets you introduce irregularity to the Horizontal, Vertical, and Rotational motion of the camera shake. The greater this value, the more irregularity will be introduced.
— Pause Length: This slider lets you adjust the frequency of intermittent pauses that break up the random motion added by this filter.
— Pause Interval: This slider lets you adjust the duration of intermittent pauses that break up the random motion added by this filter.
— Pause Randomness: This lets you add a degree of randomness to the intervals that happen.
— Random Seed: This slider lets you alter the value that sets what random values are being produced. Identical values result in identical randomness.
Gamut Limiter
Lets you limit the gamut to a specified standard. Useful in situations where the delivery color space is a large gamut such as Rec. 2020, but the QC specification requires limiting to a smaller gamut such as P3, in order to limit the amount of saturation allowable in the final output. This is a limiting
operation, so out of bounds values are hard clipped. This plugin can be used regardless of whether or not Resolve Color Management is enabled. Because it’s a limiter, it should probably be one of the last operations in any node tree to prevent useful image data from being clipped.
— Current Gamut: Choose the timeline gamut currently being used by the image.
— Current Gamma: Choose the timeline gamma currently being used by the image.
— Limit Gamma to: Choose the gamut you want to restrict the image to here.
These menus present the same options as the Resolve Color Management menus in the
Color Management panel. For more information about the options available in these parameters,
see Chapter 9, “Data Levels, Color Management, and ACES.”
Gamut Mapping (Studio Version Only)
The Color Space Transform plugin provides Gamut Mapping controls to accommodate workflows where you need to transform one color space into another that has a dramatically larger or smaller gamut. These controls are identical to those found in the Color Space Transform plugin’s Gamut Mapping group and are similar to those found in the Color Management panel of the Project Settings.
— Gamma: A pop-up menu lets you specify what type of gamma the clip is supposed to have, so set this to whatever matches that image (this may match the timeline color space, but it depends on how you’re working).
— Tone Mapping Method: Lets you enable tone mapping, to accommodate workflows where you need to transform one color space into another with a dramatically larger or smaller dynamic range by automating an expansion or contraction of image contrast in such a way as to give a pleasing result with no clipping.
— None: This setting disables Input DRT Tone Mapping. No tone mapping is applied to the Input to Timeline Color Space conversion at all, resulting in a simple 1:1 mapping to the Timeline Color Space.
— Clip: Hard clips all out-of-bounds values.
— Simple: Uses a simple curve to perform this transformation, compressing or expanding the highlights and/or shadows of the timeline dynamic range to better fit the output dynamic range. Note that the “Simple” option maps between approximately 5500 nits and 100 nits, so if you’re mapping from an HDR source with more than 5500 nits to an SDR destination there may still be some clipping of the highlights above 5500 nits.
— Luminance Mapping: Same as DaVinci, but more accurate when the Input Color Space of all your media is in a single standards-based color space, such as Rec. 709 or Rec. 2020.
— DaVinci: This option tone maps the transform with a smooth luminance roll-off in the shadows and highlights, and controlled desaturation of image values in the very brightest and darkest parts of the image. This setting is particularly useful for wide-gamut camera media and is a good setting to use when mixing media from different cameras.
— Saturation Preserving: This option has a smooth luminance roll-off in the shadows and highlights, but does so without desaturating dark shadows and bright highlights, so this is an effective option for colorists who like to push color harder. However, because over-saturation in the highlights of the image can look unnatural, two parameters are exposed to provide some user-adjustable automated desaturation.
— Sat. Rolloff Start: Lets you set a threshold, in nits (cd/m2), at which saturation will roll off along with highlight luminance. Beginning of the rolloff.
— Sat. Rolloff Limit: Lets you set a threshold, in nits (cd/m2), at which the image will be totally desaturated. End of the rolloff.
— Max Input/Output Luminance: Checking these boxes and adjusting the slider below allows you to specify the minimum and maximum luminance of the input image in nits. Using these two sliders together, you can set which value from the Input Gamma is mapped to which value of the Output Gamma..
— Avg. Input Luminance: Used to compensate for large differences in the viewer’s state of visual adaptation when viewing a bright image on an HDR display versus seeing that same image on an SDR display. For most “average” images this setting works best set between 0–10. However, when you’re converting very bright images (for example, a snow scene at noon), then using a higher value will yield more image detail within the highlights.
— Gamut Mapping Method: Accommodates workflows where you need to transform one color space into another with a dramatically larger or smaller gamut by helping to automate an expansion or contraction of image saturation in such a way as to give a pleasing and naturalistic result with no clipping. Choosing Saturation Mapping lets you remap the saturation values of the image. It enables the Saturation Knee and Saturation Max. controls.
— The Saturation Knee slider sets the image level at which saturation mapping begins. Below this level, no remapping is applied. All saturation values from this level on up are remapped according to the Saturation Max. slider. A value of 1.0 is maximum saturation in the currently selected output color space.
— The Saturation Max slider sets the new maximum level to which you want to either raise or lower all saturation values that are above the Saturation Knee setting. A value of 1.0 is maximum saturation in the currently selected output color space.