In part two of this Insight you will learn how to connect Resolve to OpenAI and create a summary of a timeline. In part one we learned how to make calls to OpenAI and Resolve respective APIs. In this part we will combine the two pieces of code into a single Python script. Stick around through the end where we show how by making a very small modification to the script we can have OpenAI provide foreign language subtitles instead of a summary.

In this series, we distribute the same footage to two Contributors, give them the same set of Director’s notes, and after spending no more than 90 minutes grading the sequence, we get together and share the final results. We hope the result will be a deep dive into colour grading approaches, techniques, and workflows. In our first take on this concept, Kali Bateman and myself share our thoughts and insights for the grade. Patrick Inhofer selected the footage, gave us our creative brief, and joined us in the discussion.

With a general approach under your belt, in Part 2, we solve a more extreme problem by introducing a new tool set. Plus, we look at keyframing our base corrections to fix an extreme auto-color balance issue. Then, it’s on to shot matching. As I mention in the video, the shot-matching stage balances moving our focus between our scopes and the image itself. We use our scopes to help identify areas of mismatch, which then help us identify which tools we want to use to solve those problems. In a few shots, you’ll see how I might try two or three different tools to target the same problem

In this Insight, we depart from the legacy Resolve series I’ve been sharing—created a 10 years ago, teaching the Resolve fundamentals that haven’t changed in that time—and bring you up to date on how color grading workflows have evolved over the past decade. Today, we focus on fixed node trees.

We’ve said it a million times, and we’ll say it again! Mothers LOVE photographs of their children! Sibling photoshoots can be some of your biggest sellers. If they are done correctly, you are sure to see your revenue grow. You will learn so much with our Posing Brother and Sister course. In this 2 part course, Sue demonstrates some of the reasoning behind how you would do certain poses for a brother and a sister. She also explains why certain poses for a couple are not appropriate for siblings. After she explains these things, she then shows you how to put her advice into action.

You’ll see three photographers with the same equipment and same model take 15 minutes each to get their best shots. They talk you through their process as the other contestants chime in with critiques and good-natured jibes. The winner is determined by the Conference audience.

Knowing how to retouch is crucial as a portrait photographer, but it doesn’t have to be difficult or complicated. Sue and Jason Hoppe take us through a multitude of ways to retouch your photographs — everything from blemishes on the skin to extending a backdrop.

Boudoir photography marketing has undergone major evolutions just in the past five years as the genre has changed. This genre used to be about creating sexy pictures just for him, but now it has become a major body-positivity empowerment movement. In this edition from Sue’s Live Archives, Sue Bryce chats with two women who are dominating the boudoir photography industry, Jasmin Jade and Kara Marie Trombetta. These conversations dig into the contemporary boudoir photography scene with a special emphasis on how to market boudoir photography sessions.

Mother’s Day is a huge holiday for portrait studios, and I want you to be ready. The Mother and Daughter shoot has always been in my top percentage of bookings and sales. A mother will do pretty much anything for their child, but I noticed very early on this special shoot is really all about Mum and being photographed in a beautiful way with the people she loves. As much as they may secretly want it, many Mums won’t give themselves up to the luxury of a beautiful photoshoot without the push of including a loved child. So learn to speak the right language to this powerful shopping demographic. Above all enjoy photographing the friendship and love that this relationship is all about.

When I first became a wedding photographer, lighting with the Profoto B1 was not something I’d ever considered trying.  I found studio strobes incredibly intimidating, thinking that they must be difficult to set up, manage, and use.  Where would I put them?  How far from my subject should the light be?  How do I figure out what power level I need?  And how do I trigger the lights to begin with?