Place Neat Video on the first node (most of the time) Due to its architecture, Resolve may require more GPU memory on other pages, so when efficiency is important it is best to apply on the Color page. Resolve itself is also most efficient when such temporal effects are applied on the Color page. This gives the plug-in access to all the video data it’s expecting, including adjacent frames necessary for temporal noise reduction, and enables its optimal placement in relation to other color grading operations. OFX plug-ins may be placed on clips in the Edit timeline, on nodes in the Color page, or in Fusion compositions, but each of these methods differ in the way the video data is prepared by Resolve and passed to the plug-in.Ĭurrently, Neat Video is optimized to work best when placed in a node on the Color page. Unlike many other host applications, Resolve offers multiple places to apply effects, each with their own nuances in the way that they’re processed.
By the end, you’ll know how to apply Neat Video in ways that optimize its performance while integrating into your specific color grading workflow. In this first post, we’ll cover the basics of using Neat Video in Resolve, including where to apply the plug-in and how to integrate it into various color workflows including Rec709, Log and Color-Managed (such as ACES and DaVinci YRGB Color-Managed). This new blog series will cover tips and techniques for getting the best results from Neat Video inside Resolve. The Neat Video plug-in for Resolve is a powerful solution for noisy footage. In addition to its extensive toolset, one of Resolve’s biggest strengths is its ability to add functionality through 3rd party plug-ins. An industry-standard in the area of color correction and grading for years, Resolve has recently added robust tools for editing, VFX, motion graphics and sound mixing, making it a powerful all-in-one post-production powerhouse.
When it comes to pro video applications, few offer a value proposition as compelling as Blackmagic Design’s DaVinci Resolve.
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