达芬奇执行的“Bad Like Brooklyn Dancehall”帖子

本·迪贾科莫，导演翠贝卡-首映纪录片“Bad Like Brooklyn Dancehall”，选择使用 Blackmagic Design 的 DaVinci Resolve Studio 负责故事片的整个后期制作阶段。

坏像布鲁克林舞厅 庆祝在牙买加舞厅产生共鸣的氛围 80 年代和 90 年代 布鲁克林以及音乐和文化的影响如何继续影响当今的年轻一代。格莱美奖获奖歌手兼作曲家 Shaggy 担任这部纪录片的执行制片人，其中包括肖恩·保罗 (Sean Paul) 和丁东 (Ding Dong) 等多位知名艺术家。

迪贾科莫指出 艺术和视觉护理 以及整个作品的一致性，如果不能使用，这是不可能实现的 达芬奇决心 “从一开始就提供端到端的后期解决方案对我们来说是一种奢侈，因为我们能够随时访问整个电影，并不断地在艺术上发展项目的所有元素。”

除了导演这部纪录片外，电影制片人还负责 编辑、色彩和视觉效果。根据他对该项目的丰富了解，他说：“处理样片后，我在拍摄记忆犹新的情况下进行了所有选择。我根据颜色做出编辑决策，并且在进行选择时需要一种快速方法来匹配曝光和白平衡，特别是对于纪录片不受控制的环境。准备好所有这些平衡的选择使我能够专注于编辑，而不会受到视觉干扰。”

关键的达芬奇工具坏像布鲁克林舞厅

迪贾科莫 重点介绍了 Resolve 的蒙太奇模块等关键解决方案，该模块“在进行选择时非常有帮助。有时我们真的专注于单个剪辑，而干净的 UI 会给人一种特别关注的感觉。我也不认为如果没有源磁带查看器我就无法进行记录。它非常简单，但可以立即让您很好地了解正在使用的所有材料。”

为了 坏像布鲁克林舞厅导演在片中也频繁运用了分组功能 达芬奇解决工作室 and caching: “Node groups, clip filters and shared nodes are a huge help in the editing process for feature length projects. I always create tons of smart filters that allow me to watch it down in different contexts, for example watching all the archival clips back to back. It’s a great way to have a bird’s eye view of the project. I also love how the render cache pipeline works, since I oftentimes move back and forth between the pages while editing.”

DiGiacomo’s other favorite tools are the adjustment clips, which “really speeds up the editing process while trying different things out like reframing, effects, looks, dynamic zooms or all of that combined.”

Visual effects and sound in DaVinci Resolve

尽管本转向 DaVinci Resolve Studio 的 Fusion 在他的商业项目模块中，他更深入地研究了效果为了 坏像布鲁克林舞厅：“我们的整个介绍片断都是在 Fusion 中使用大量 Resolve FX 构建的，例如镜头畸变、镜头模糊、镜头反射、色彩压缩器、水彩画和胶片颗粒。”

“I also used character level styling to build all the title animations in Fusion, but on separate clips. When I originally built the template, I pushed some of the Fusion node parameters, like text and position, through with user controls, so I was able to change the names and positions from the edit page directly, which is quite efficient when constantly moving and editing dozens of titles. Like DaVinci Resolve, Fusion’s power comes from taking a comprehensive approach, just with compositing, 3D and motion graphics; it really brings them together,” he adds.

Because of his background in music, sound is extremely important to DiGiacomo, who also took advantage of the Fairlight module built into DaVinci Resolve: “I put a lot of work into sound while editing so having a dedicated Fairlight audio page in Resolve with filmmakers in mind is a big asset. Sound needs special attention, and it’s hard to achieve this level of finesse with any other NLE.” 颜色 was also addressed with the Blackmagic Design tool: “Documentaries can be challenging to grade due to the uncontrolled environments. Exposure and temperature will shift, and DaVinci Resolve’s color stabilizer and color warper helped fix these issues without needing complex keyframing.”

“我对我想要的东西的感觉和外观非常挑剔。即使是深入的色彩，我也可能想要调整剪切或下三分之一，或者冷的声音效果可能会影响我想要推动镜头外观的温暖程度，反之亦然。我喜欢所有这些决定一起发展以创造完美的情感，DaVinci Resolve 为我提供了灵活性 坏像布鲁克林舞厅，”总结道导演。

https://www.youtube.com/watch?v=c6aBuFnk26o

经过起草，2023 年 6 月 19 日，部分：后处理

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