I'm Alexis Van Hurkman and welcome to Resolve in a rush
where you'll find DaVinci Resolve grading and finishing techniques in under 5 minutes.
In this lesson we're going to take a look at the best way to use noise reduction in
DaVinci Resolve.
Now, if you have the full version of DaVinci Resolve, there is built in noise reduction
you can get to by opening up the motion effects palette.
And noise reduction is controllable via two sets of parameters.
There's spactial noise reduction and temporal noise reduction.
Here's the thing: the way the controls are laid out you'd think you probably wanna
start using spatial noise reduction and then add temporal noise reduction and this in fact
is precisely the opposite of what you ought to do for the best results in my opinion.
So, I have this shot and I've kind of artificially boosted the levels just to make a point.
I'm going to go into enhanced viewer mode and I'm going to actually create a new node
to do my noise reduction within first and I'm going to zoom in just so you can see as
I play through there's plenty of noise here
for me to experiment on.
So, with this set up in my view the best way to work is to start out by adding temporal
noise reduction.
You can choose one or two frames to compare for DaVinci Resolve's algorithm to try and
determine which parts of the frame are noise and which part are legitimate image detail
and then you can choose emotion estimation type.
I'm just going to choose better for now.
And you can choose emotion range.
Now she's not moving really fast but she's not moving really slow so I think medium is
probably the best.
And at this point, I can raise luma and if I press command D, to just turn the current
node off and on, you can see that this setting is doing a really good job of getting the
noise out without softening image detail.
And that's the magic of temporal noise reduction.
It's actually the least destructive of the two methods of noise reduction that Resolve
makes available.
It's computationally intensive, but it does a really good job.
Now of course, you also wanna bare in mind that it does it's best work on parts of the
image that aren't in motion just by the nature of how temporal noise reduction works.
So having done most of the noise reduction with temporal noise reduction, now we can
move back into spatial noise reduction controls to kind of finish the job using controls that
are much more effective even when parts of the image are in motion.
But because we've done a lot of work with temporal noise reduction we shouldn't need
to add much spatial noise reduction at all.
So if I just raise this just a little tiny bit you can see that now
I have a much cleaner
image without sacrificing much image detail at all.
So if I do a before, after of just that adjustment you can see that this softens the image a
little teeny tiny amount.
But not that much and frankly, I could probably drop the threshold a little bit more.
Now in situations where you've got more chroma speckling than noise in luma, you can actually
click this link button to decouple these controls and you can then increase chroma which you
can get away with because people aren't going to notice things happening to chroma as much
as they're going to notice things happening to luma.
And that can give you additional edge in your noise reduction without cranking visible artifacts
up to eleven.
And again, if I press play,
you can see that I've got a really nice result here and I really
haven't pumped these settings up all that high.
So that's my big tip, is start with temporal noise reduction before applying spatial noise
reduction because if you apply spatial noise reduction first you'll be tempted to add more
and that's not going to give you as clean a result.
So I hope this has been helpful if you want more information about this and all of grading
in DaVinci Resolve check out my titles available from RippleTraining.com.
I'm Alexis Van Hurkman
Thanks for watching!