What I Do
Dan’s a Senior Colourist based in the UK. Dan used to work staff at Smoke & Mirrors and then Coffee & TV – both in London before setting up his Bristol, UK creative grading studio in 2018.
He’s collaborated with major directors such as Yorgos Lanthimos, Joseph Kahn, Anton Corbijn, Mert & Marcus, Emil Nava, Director X, Martin Stirling, Ninian Doff, Kathryn Ferguson and many more. He’s also worked with internationally renowned cinematographers including Daniel Landin BSC, Henry Braham BSC, Christopher Probst ASC, Tim Maurice-Jones BSC, Stephen Murphy BSC ISC
Commercial clients include: Nike, H&M, John Lewis, Netflix, Gucci, Ikea, Cadbury, Samsung, Smirnoff and many more.
His music videos clients include Radiohead, Bjork, George Michael, Zayne Malik, Calvin Harris, Sam Smith, Depeche Mode, A$AP ROCKY and many more.
During this period, Dan was also the co-founder of and a Contributor to MixingLight.com.
Tutorials by Dan Moran
315 tutorials found.
In this Insight Dan (well known for his gritty looks) tries to bring a bit of that style to a cleaner, HDR ready show look created in Baselight
We've all seen the 1931 CIE RGB Chromaticity Chart but do you understand its importance to film and video? How does it map to human vision?
In this installment of 'From The Mailbag' Team Mixing Light discusses Patrick & Dan's newest HDR projects &the challenges they faced.
1,000 Insights are now in our Insights Library! In this article Team Mixing Light has new announcements and a look back at our favorites.
Dan shares some grading inspiration from the 2020 best colour grading nominees at the UK music video awards
Help us celebrate the 160th Anniversary of the color photograph, its history, and the RGB color model! Presented by colorist Hector Berrebi.
Team Mixing Light hosts Hungarian colorist Dávid Láposi to discuss creating a personal, story-based demo reel to help advance your career.
Today's Agenda: What do digital video post production professionals need to consider when buying a storage solution for their digital media?
Dan briefs you on a Black & White Tri-X look. If you grade to his brief and post in the comments, he'll play 'client' and offer feedback.
Dan looks back at a rollercoaster 2020 and his most memorable moments. Then he looks forward to a new color grading suite he's building.
How easy is it to do final finishing in Baselight? Dan shares his approach to adding titles, audio, compositing and rendering
Grading a one-shot music video shot on the Panasonic GH5 was challenging. Check out this Insight to learn Dan's approach.
Blackmagic Design just announced Resolve 17. We jump on a call to discuss the release, its timing, new features, and our initial thoughts.
Team Mixing Light announces an upcoming new website feature & the Team revisits the issue of exports looking 'wrong'.
In July I started the proecess of moving to Baselight full time for my grading. As a 10 year Resolve veteran I need to let go of the past
Everything you need to know from project creation to starting your grade including, colour management, project management & Scene Detection
An introduction into building a Kodachrome inspired look on Arri Alexa footage using Basegrade, Looks, Grain and Color Crosstalk
In this insight Dan reviews your submissions and shares his own Sci-Fi look using primarily Baseilght Base Grade
Dan plays client and dishes out a grade brief for a Modern Sci-Fi film that he'd like you to execute. Remember there are no wrong looks!
Dan kicks off January 2020 by looking back on 2019 and speaks about his personal favourite grades & experiences of the past year.
Working with new cameras is always a challenge. Get an inside look at what Dan does when working with the Fuji XT-3 camera
In this new series, Dan's grading the short film 'Origins' (using Baselight). It's got VFX, ACES, multiple deliverables (and light sabers).
Dan answers some comments from members about why he adds his grain to the image at the very beginning of his node graph
Dan cracks open another project fresh from the grading suite. In this part we take a look at the Spectachrome brief & project organisation.
Working as a freelance colorist seems like freedom and flexibility. But what do you do on vacation - and the client has urgent revisions?
Dan shares his thoughts on recreating tape based artifacts using the brand new Resolve 16 Analog Damage tool.
Dan shares his breakdown of cleaning up a bike frame using the color compressor and node resizing in Resolve
Dan shares his thoughts behind his solution to removing a reflection using Resolve's Color Page - on a 16mm shot with moving grain structure.
What's harder than faking a VHS-look from a high-end camera? Intercutting that look with actual crummy VHS. Learn one way to do it.
Every year Dan looks back at the previous year and shares his greatest successes. This year, he focuses on his most memorable jobs.
Dan wraps up his behind the curtain series with a watch through and matching pass on the whole video to make sure it flows as a whole film
Dan shares the reasoning behind his new showreel and also gives some tips on when and where to share it for maximum views
Dan shares his story from a recent "not so near-set grade" for an upcoming collaboration with friends on a short film.
Dan is back in part three of his unfiltered look at a recent grade. In this part we take a look at matching the externals in this 16mm style
Dan picks up where he left off in this series on real time grading a music video. In part 2 we look at the noisy internal scene.
Dan shares the opening part to his full unfiltered look at how he graded a music video in a 16mm film style.
Dan shares his thoughts on trying to clean up his grades in 2019 and moving away from his favourite film emulation techniques.
In this Insight, Dan shares his approach to creating a classic 16mm Film Emulation that he used on a recent music video.
Finding the right balance of noticable and realistic is always a challenge. Dan shares behind the curtain on a film release print style grade.
Dan shares his technique of using the multiply blending mode to recover highlights easily and naturally via a layer node.
Dan shares his thoughts on the UKMVA Nominations 2018 for best grading. This year he was also part of the judging panel.
Dan shares his 90s video review and his attempt at going bold, bright soft and crushed in this grading challenge.
Dan kicks off a new grading challenge where he plays your client. It's based on a 90s pop video style color grade he recently recreated.
Drone footage is a very common occurance on timelines these days. Dan shares his techniques for adding depth to the footage.
Sometimes we are gifted with better sun than other times. In this Insight Dan shares his experience on a job shot over multiple months.
In this Insight, Dan shares his experience in developing a look to back up the lyrics and narrative in a music video by his favourite band.
For Dan's Inspiration July 2018 he shares his list of top colorists inspiring him in the summer of 2018 with their amazing grading work.
Exposure shifts creep up in projects regularly. With the right node structure and correct technique you can easily fix these in seconds.
Dan shares a tale of things going a bit wrong on a live concert grade w/ high powered LED lights and how moving over to ACES solved things.
Now that DaVinci Resolve is gaining tools by the month, Dan takes a look at managing the node graph to keep things organised and flexible - with the goal of allowing for quick changes.
What makes an award-winning grade so special? Dan attempts to break down what made the Lacoste, Timeless commercial so special and how we can pick up some tips to use on our own grades.
The only person that is going to inspire you is yourself. A Look Library surrounds you with inspiration keeping you motivated and current.
Sometimes even offering the smallest level of beauty work for a client can go a long way. Learn quick skin-smoothing / eyebag-reducing tips .
Beauty work and re-touching can be a great additional source of income as a freelance colourist. Dan shares his thoughts and kicks off a new series on getting involved in retouching.
We've all seen amazing commercials and films that inspire us, but how do we turn that into color corrections that we can use on our own projects? Dan shares his approach to being inspired by a recent award-nominated color grade.
Dan Moran shares his thoughts on the best commercial color grade nominations 2018. Top work from excellent colorists are great sources of ideas.
Can you prebuild a perfect node structure and use it to speed up your grading? Dan is taking a deep dive to find out how well it works, and if it's a genius idea or a total waste of time.
In the last couple of years there has been a shift away from teal and orange to teal and yellow. Dan investigates that transition and looks at his own grades. He also asks do you miss teal and orange?
In this insight, we take a look at the final pass on the bread short film. Dan looks at his matching with fresh eyes, checks his black and white levels and decides on the sharpening and grain levels of the film.
In part two of grading the bread short film, Dan dives into the matching side of things. Although it's the least glamorous part of grading it's also the most important.
In this new series, Dan is showing a real-time grade of the bread short film he graded recently. Shot in less than ideal conditions with natural light on a compressed camera, it's a great chance to see the good the bad and the ugly from the grading suite.
In this Insight, Dan covers another of his behind the curtain commercials. This time we look at a bright morning kitchen scene. In this real-world assessment and grade, Dan focuses on getting a bright airy feel without losing on the filmic sense.
Dan returns to his Behind The Curtain series with a real-time insight that shows his approaches to this commercial grade. He covers primaries, look theory, shot matching and Look refinement.
Dan shares the tale of his attempt at grading long-form reality television after spending 10 years being a pampered commercial colorist.
Dan shares his assessment of how to get the feel of the footage before you speak to the director. It helps when you can be upfront about what is and isn't possible.
Dan is excited to launch a new series on Mixing Light that will feature a briefing from the real director of the project. In this intro Insight, download some RED 8k footage to attempt a grade before getting creative brief from the client.
Dan shares a tale from the grading room of a film emulation gone wrong and how by missing the mistake was destined to fail in the grade with his clients.
When you have complex node trees, rolling it into a show LUT can make your life. Learn how to build your own LUT for your project.
Colorist Dan Moran spends the first day of January 2018 looking back on his best work from 2017. Picking his favourite commercials, music videos and long form narrative projects and also sharing the stories behind when he enjoyed them so much.
Being able to offer Basic Cleanup in the grade is a great ability. It saves moving to and from a compositing application and helps finish off that job.
Sometimes a shot is so basic that a little VFX knowledge goes a long way. In this insight Dan shares his real world rotoscoping example
VFX colorspace issues are the last thing you need when you are on a tight deadline. Dan shares his experience solving issues like these.
In a new series Dan shares a look behind the curtain at a real world grading project. From quoting to delivery he dives deep on his process.
Most of us are more comfortable using the same software all the time but why limit your opportunities? Dan shares his tips on learning a new software.
Dan shares his thoughts about the UKMVA nominations 2017 for best music video color grading award and asks you to predict the winner
Dan filmed some bad footage on his 7D with the wrong color temperature, harsh lighting & heavy compression. He offers up his best effort on a grade rescue.
Dan shares his inspiration for this month by checking out the nominations for Outstanding Color Grading at the HPA awards
Dan critiques your beauty grading entries and shares his attempt. The challenge was quite advanced and the results are great. Dan's DRX is also downloadable
Beauty grading is a discipline all on its own. Dan shares a typical client brief and will offer stages of feedback like a real world client
In this insight Dan is reviewing your efforts on his car brief and also sharing his attempt at the shot to show his approach to the grade.
In a new series Dan shares his guide to training your eye for contrast issues. Follow this four step process to learn how to diagnose and fix your images
Following a brief for unattended grades can be incredibly difficult. Dan sets up a virtual client grade and will give feedback on your grade in the comments
An old school technique that is still regularly used today in commercials. Having a break between grading the same footage has huge advantages.
Dan is turning 30 and shares his work from across the years to show how his grading has evolved and improved year after year
Managing the elements and components on a feature film is pretty much a full time job. Dan shares his tips for using markers to stay on top of his project
Dan shares his new approach to Assessing Tonal Range and the initial grading moves by asking. Are you trying to make it look better or different?
Sending before & after stills is part of our life as a colourist. Dan shares his template and thoughts behind using a branded PDF to send to his clients
Dust Busting in one of those tools you don't know exists in Resolve. Dan shares his tips on how and when to use it in the grade
Some jobs just call for the grade to be turned up to 11. A fun way to do this is by blending multiple LUTs together and enjoying the happy accidents!
Dan shares the behind the scenes thoughts that go into such a stylised 70s era music video for Lucy Rose. 80% in camera and 20% in the grade
Sometimes we need to go outside our role as traditional colorist. Dan shares his story form his work paying tribute to an icon
Dan spent a month in ACES getting to know the new way of grading. In this insight he shares his thoughts on the good the bad and the ugly of ACES.
Sometimes you have to go full cheese and pay homage to looks and films from the 70s and 80s. In this insight we create a retro Sci-Fi look
Dan Moran shares his thoughts on the best commercial color grade nominations 2016. Top work from excellent colorists are great sources of ideas.
Using Scroll Mode in DaVinci Resolve is a quick and effortless way to audition grades for your current shot by loading grades
Dan is committing to doing work only in ACES in May. It's time to get out of the comfort zone & stop testing. Changing our technique is scary but also fun!
Now that most people have a basic knowledge of color correction thanks to Instagram what does that mean for us colorists?
Dan shares his inspiration for this month including BTS on Moonlight, Peter Doyle, A$AP Rocky and a Lorde video shot on 16mm
We should be spending more time looking at the timeline as a whole than focusing on shots. Nobody ever watches a single shot!
Have you ever considered hands or legs when doing a beauty grade? We spend hours on faces but the skin should match all over the body.
Sometimes when grading you end up going in totally the wrong direction have to just stop what your doing and start from scratch.
Is lens profiling something we should be looking at as colorists or is it a lot of extra effort to save a small amount of time in the grade?
Getting started on a feature film can be a daunting process. Dan shares his experience on getting the ball rolling slowly and carefully
Inspired by the Blade Runner 2049 trailer Dan shares his attempt at recreateing the intense warm washed look.
If a client asks for a sky replacement; as a colourist, should you? If so, how? Plus a tip on where to start when evaluating a sequence.
Most of us love to use LUTs behind closed doors. Dan shares his thoughts on why and how to break out of needing LUTs
Using Haze as a grading tool is an alternative method to using Vignettes. Making things lower contrast helps them sit back in the image.
Reframing in Resolve as become common practice. Dan shares his approach to finishing in the box and shares his tips and tricks
In How I Grade Part Two Dan shares more steps in his grading process. We look at auditioning looks and checking the correct exposure
Dan attempts to walk through his thoughts when grading step by step from quality control to setting the first primary correction
Dan jumps from commercials to features in this series and shares his guide to getting organized and plan for efficient feature grading
Dan shares the skills he learned in the darkroom and how he applies them to grading black and white in DaVinci Resolve
Download the footage and follow along as professional Colorist Dan Moran, CSI color corrects a classic shot in the style of a Hollywood Western Look.
Colorist Dan Moran shares a color correction breakdown on how he approaches a new shot, sight unseen. How to make it an alien planet or a shed in a garden?
Matching Pantone references to video can be tricky at the best of the times. Get advice on getting that exact match - even if it's not precisely correct.
Warm looks don't always have to be rosy red and cozy looking. Take a look at a non-traditional warm color and learn how to add it to your color toolkit.
First, explore the list of the UK's 2016 Best Nominated Commerials - then ask a professional colorist to breakdown how they achieved their Looks.
Dan Moran shares his thoughts on the best commercial color grade nominations 2016. Top work from excellent colorists are great sources of ideas.
Are you showcasing your range of looks and grades with your showreel? Dan breaks down his latest reel and explains his approach.
When Your Director Is 6000 Miles Away In this Insight I’d like to share an experience I had this week. I had a room full of clients in London but…
Considering Final Contrast before you make your first primary correction is a huge advantage creatively to help you get the best results
Dan shares his thoughts about the 2016 best color grading award nominations and asks you to predict the winner
Dan shares his experimentation with the idea of grading using lens flares for subtle lighting effects to help match and lift scenes.
The summer vacations are winding to a close, the kids are returning back to school and the post industry is winding up for that crazy blur that is the September…
Dan shares his story from the grading room on grading a short promo project for radiohead
Sometimes going for the film look is not the right decision. Dan shares his tips on going digital to give us great punchy sharp images.
When working with heavy looks we sometimes forget about protecting skin tone and making our artist/actor look as good as possible
Sometimes we get lost in the heat of the moment and over complicate our grades. Dan shares his tips for responsible grading when time is short
Conforming timelines can be time-consuming before you even start color correcting. Learn the common issues (and how to fix them).
Dan shares his top grades from July as a source of great colorist inspiration
Dan shares his techniques for taking your image to the brightness, saturation, and sharpness limits while maintaining legal levels.
Dan shares some looks from his past focusing on two Early '00s looks in particular. One home digital camera one heavy 35mm music video
Early film looks are a very popular request from clients.They can be tricky to build quickly so Dan shares his DRX files that you can download
Summer has arrived and the annual down turn in business begins. My clients first head off to the cannes lions festival and then off on their summer holidays. It’s the…
At some point in every colorists career you will be asked to make some looks throughout the ages like 60s, 70s, 80s, 90s. Dan shares how.
Adding grain can help add a wonderful cinematic feel to a project but in the world of heavy compression is it a smart decision?
Dan shares parts of his conversation about the grade on recent wonderful life commercial grade.
Some projects call out for extreme warmth to help back up the story. Learn methods to get an extremely warm feel that looks real.
Get an inside look on methods and techniques a professional digital video colorist uses on a short-form fashion commercial.
Learn how Dan uses reference images to create his Looks - and download the sampe footage to try your hand and practice your skills.
A topic that came up time and time again while meeting lots of awesome colorists at NAB this year was : How did you come up with the look for…
NAB is over and a whole heap of new tools and toys have arrived for us colorists. The perfect time for another installment of colorist inspiration. This installment is slightly…
Resolve 12.5 is here and Dan shares his thoughts on the exciting brand new features and how they can be used to help you colour correct better.
Dan shares his node breakdown from his match my shot challenge including a downloadable Resolve project
Shot Matching – The Challenge I had an eye-opening experience in my grading suite this week. Some clients of mine asked me to match grade some new shots that were…
not every session can be amazing and Dan shares his tips on turning a session around and winning over a client when things don't go your way.
Grading underwater footage is like grading footage from an alien planet. Dan shares his approach and technique for working in that world
In this insight dan shares his approach and methods to matching black levels. Matching is hard but with practice you can become much faster!
Dan shares a job as a commercial case study in shot matching - from pristine stock footage to constantly changing clouds.
Building a one man workflow to get the maximum out of your time grading.
It's time to cut your reel and Dan shares his advice on his Showreel 2016
Shot Matching is one of the hardest areas of being a colorist. Dan shares his approach to going head to head with mismatched shots.
Dan rounds up the best colorist inspiration from February 2016 with some of the best grades from the new year so far.
Sometimes inspiration can strike in the strangest of places. In this insight Dan shares how he finds inspiration from unlikely sources.
Dan shares his attempt and look inspiration in DaVinci of a fabulous Bond movie inspired 35mm film look from the music video Genghis Khan by Miike Snow.
There is a time in every colorist’s life when we need to add some retro 70s TV vibes to footage! This insight is based on both creating a parody of…
Sometimes we need to add more to our image to sell a flashback. Dan shares his tips for a firey look and adding diffusion and motion blur.
Dan shares two of his favourite B&W Looks and the DRX files for you to download
Day 16: 25 Insights in 25 Days Holiday Marathon Colorist Inspiration – Dan’s Best Of 2015 As the year comes to an end I thought it would be the perfect…
Dan shares his ENR processed look with his nodes and footage to grade along with at home.
A cold commercial look can help bring bright natural commercial into a moody and grungy world
In this Insight Dan explores some things to think about when it comes to doing a refresh of your system.
In this Insight, Dan guides you through key aspects of getting proper skin tone in your grade.
Adding Sunshine In post can be tricky but Dan shares his techniques in DaVinci resolve to turn dull and grey images into warm and sunny!
Dan shares his thoughts on how to emulate shooting black and white with a red filter on front of the lens to give an interesting look.
Dan shares his attempt at matching the shot on 35mm film warm commercial look of one of his favorite commercials this year.
Its time for the big christmas ads to roll out and more colorist inspiration. Dan share's some of the top work and one of his own.
The main pain when working with LUTs is not knowing exactly what they are doing. Dan shares his technique of LUT Limitation.
We all strive to create the most cinematic looking images possible but sometimes its fun to go for a harsh hyperreal sharp bright look.
When jobs look good you wonder why your own work might not look as good. In this insight Dan shares his thoughts on Lighting The Looks.
Have you ever wondered what it's like to speak to a DP before a job is shot? Dan shares a real world discussion on a tricky job.
Dan shares recent issues from his grading suite and focuses on noise and keying issues when working with a lut on recent jobs
The 2015 Best Color Grade nominations are out and Dan wants to know who you would vote for and award best music video grade of 2015!
Blackmagic Design Fusion is now free for everyone so make sure to add it to your colorist toolbox. Dan runs down his favorite tools so far
Sometimes you need to go hard and contrasty with black and white and Dan shares his experience when building a metallic monochrome look
Septembers most memorable grades roll in and dan shares the best work he has seen from young colorists including one of his own!
Color grading is a balance between technical knowledge and creative vision. Dan explores the issue of tech versus art colorists face today.
Rotoscoping in Resolve is becoming more and more necessary. Dan shares some hints and tips on how he approaches the task.
Remote grading in DaVinci Resolve is a unique way to color grade. It allows clients to view real time grading anywhere in the world.
Colorist Inspiration – August 2015 The Best Grades From Around The World The world of color grading is mostly a thankless craft. Regular viewers don’t even know we exist and most…
Rebooting Your eyes can be tricky after spending hours, days or even weeks on a project. Dan shares how to refresh your eyes for a grade.
The question of how to commercials look so good crops up constantly. Dan shares the in and outs of a grading session to show you how
Have you ever tried compositing in DaVinci Resolve? It used to feel like a work-around. In Resolve 12, it's MUCH easier. This video explains.
Resolve 12 is here and this insight is aimed to get experienced colorists up and running as soon as possible with some tips from Dan
Using windows and shapes for masking areas and localised corrections are essential when grading! Learn how it works in Baselight for Avid.
In this insight Dan gives you a crash course on all the major tool sets that you need to know to start grading in Baselight
Dan shares his first thoughts on making primary corrections using the Baselight for Avid color correction plug-in.
In this insight Dan shares a Grade Breakdown on a recent commercial to challenge you to use your eyes to notice all his grades
Video games are just as visually stunning as films these days but how to you approach color grading CG footage from one?
Sometimes you need to throw the rules out the window and create the worst possible image for effect. Dan shows you how to do this in Resolve
Color washes are the most extreme form of grading but can be very rewarding when done well. Dan shows you how he thinks they work best.
What do you do when a client says keep it natural? Dan shares tips for getting the most out of your image by building an invisible look
In this insight I borrow my Stills Techniques and try and apply them to my video work. The standard is very high and the results are amazing
The world of stills retouching has such an amazing standard. Dan looks at those techniques and will borrow them for the video world
How much time have you spent thinking about your eyes? Dan starts a new series about health issues including eye awareness.
Defining Texture is a great decision to make early on when grading. Do you want it to look glossy and commercial or textured and filmic?
When working with skin it's quite easy to make it look false and over worked
When working with people we always need to smooth skin tones. In this video I explore my three favorite skin smoothing tools.
DSLR Music Video are pretty common and can be incredibly tricky. Dan shares one of his favorite music videos shot on DSLR
Working with Tricky DSLR footage can be frustrating. Dan pulls out some awful clips from his archive and does his best to fix them.
Grading high quality is fun but what happens when you have difficult footage to begin with? Dan takes a look at Damage control when grading
You've landed the grade of your career, what happens next? Dan shares his preparation when a big job arrives for him to grade
Food commercials can be the trickiest of grades as they push your skillset and leave little room for error. Here are some techiniques
How do they make car commercials look so polished and refined? Dan shows you some common techniques used on a car commercial.
When you get into very advanced grading there are even more node operations to worry about. Dan shows you his layout for commercial grading.
Have you ever paused to think of the order that you place your nodes? Dan shares his approach to getting the most out of your image.
Sometimes you just can't make a grade look good no matter what you do! The Colorist Block is real and dangerous but defeatable.
Color temperature allows us to control many factors from time of day to adding to the mood of your image by warming or cooling.
Its tempting to dive in with many nodes & advanced techniques but spend more time getting your contrast right & you'll love the results
In a world where you can apply 20 nodes to build a look Dan challenges you to rediscover basic grading concepts starting with Saturation
We take a look at the Best UK Commercials of 2014 in the world of uk color grading.
Time to take the image into the next level with a fashion look in part two of the series on advanced beauty grading.
Advanced Beauty Grading is quite a dark art in the world of color grading. Dan shows you his approach to beauty grading on a commercial.
In part two of this series Dan dives into Resolve and tries out the methods first hand. Enjoying the restrictions and relief of grading.
Have you ever wondered why Christopher Nolan uses color timing instead of a DI for his grades? We take a look at the color timing world
Creating a feature film neo noir look can be tough. Dan shares his look using hardlight blending modes instead of his beloved curves.
Building an Infrared Look can give you some beautiful results if you have the right projects and feel adventurous!
Assessing Your Progress can be hard has a colorist. How are my grades better today than a year ago or even 5 years ago? Dan shows you how.
Footage Quality Control in a modern file based world can be tricky. Dan shares his advice on how and when to reject source material.
Commercial Breakdown - Rolo. Dan shares another instalment of his series of behind the scenes insights. We build looks for different eras.
Dan shows you how he built a Halloween Slasher Look inspired by classic 80s movies for a recent teaser commercial for Halloween.
We take a look at difficult shape masking and combining multiple windows in DaVinci Resolve to give you total control over difficult images.
Tired of manually backing up your Resolve? Using some handy scripts Dan shows you how to fully automate the process
Using multiple windows and tracking them into your scene gives you total control of your image and allows you to build powerful looks.
Dan takes a look at his latest commercial grade and shares the thinking and techniques behind the grades.
In this Insight we take a look at doing shot matching with multiple cameras to create a smooth edit. Featuring: BMPCC, BMCC and Red Scarlet cameras.
We visit the colour grading work of Company 3 master colorist Dave Hussey – rock star colourist and all round awesome guy
Resolve Keyframes can be confusing at first but if you follow a few essential rules you'll be keyframing like a pro in no time!
Making people look as good is part of the dayjob for colorists. Working with skin tone can be tricky but Dan shares his tips and approach.
Essential Skills For Assistant Colorists to help you get the job in a big facility. Being an assistant is hard work but you'll learn so much
Dan breaks down a shot from camera rushes to final look. He shares the good the bad and the ugly grades from starting point to final grade.
Shot Matching - Matching Skies. In this Insight, Dan shows you his techniques for color matching skies between multiple set ups and scenes
New Tools For Resolve 11 Are The Highlights And Shadows Controls. They offer up new creative options for setting the contrast in your scene.
Have you had a client reject a grade after they left the color correction suite? Learn how handle this problem without losing your client.
Attended Grading - Starting A Session is the hardest part of the grade. You need to understand what your new clients want from the grade
New to Resolve 11 the softlight blending mode gives you a great new way to add texture and depth to your image.
Resolve 11 - New Matte Finesse Controls brings some great refinements to the qualifier controls. Clipping and noise reduction make pulling keys easier than ever!
Introduction To Lab Mode Grading in Resolve 11. This new way of working gives us lots of new creative options when grading.
Working With The Clone Tool in Resolve 11. Dan will be showing you how to paint and clone out elements of your footage.
Dan Moran takes you on a tour of his favorite new DaVinci Resolve 11 features including grading tools, render caching and much more
Grading isn't always about adding to your image. Taking away and controlling colors is just as important when building strong images.
Using a sky replacement we change a simple beach scene into a moody tropical sci fi establishing shot
In this insight dan takes you through a journey of setting the time of day in a scene. The flow of the story is key when setting a time.
Working With raw files allows you to to get the best possible results with your footage. Lets start with getting the best exposure
Have you ever had to build a look that helps put a shot into a certain era? Learn how to approach this challenge - and download a 6K RED Dragon shot to give it a shot and share with us.
When you need precise separation using External Mattes from a Rotoscope artist makes precise grading in DaVinci Resolve a breeze
Adding grain can be hard to manage in Resolve but handy to have in your 'toolbox'. Dan shows you a simple way to add grain, without a plugin.
How do you build a colorist showreel / demo reel that condenses your whole career into 3mins? Dan shares with you his approach.
Are you having trouble getting bright, happy images that aren't also feeling flat? Learn how I get around this by dropping the midtones.
Grading a music video can be challenging from a time perspective. In this Insight learn about Managing A Grade for when time is tight.
Dan takes a look at the offset controls. The oldest and most overlooked primary controls in Resolve. Great for shot balancing.
Reference Images - Matching To A Reference. Have you ever had to match your footage to a famous movie or photo? Dan will show you how.
Jean-Clément has been the most influential post production professional in London and for many years. Here is a look at his work.
In Colorist Circuit Training Part 2 we take a look at a sample exercise where Dan assesses his grades to find the best version.
In Part 3 of our series on the workflow for Commercial color correction projects, we discuss how we handle archiving and restoring jobs.
In Colorist Circuit Training Part 1 we take a look at some exercises to help strengthen your style and color grading skills.
Have you ever wondered how other colorists organise and run their jobs? Now is your chance to see a real commercial workflow in action.
Sometimes clients can have a very different vision of the project than you had.I offer some tips on grading in this situation
When the rushes and Proxies don't match due to lack of timecode conforming in Resolve can be a nightmare. Here's how I approach that subject
Get the most out of your 'Pieces To Camera' (on-camera Stand-Ups) using power windows and curves on footage that needs to look normal.
Learn how a professional colorist analyses an image. Learn what they focus on and how they grade using contrast, color and secondaries.
In Part 2 of this series you learn how to use the Add and Screen blending modes to create glows, texture or light leaks to your moving images.
Learn how you can easily add some fun 'video distortion' to a music video or commercial using some creative Splitter-Combiner techniques in DaVinci Resolve.
In DaVinci Resolve, video noise reduction targeted to specific color channels lets us balance between sharpness and noise reduction.
Can you perform simple compositing in DaVinci Resolve? Yes. Plus, you can use blending modes and alpha channels to add visual effects or graphics.
Learn how to perform basic online editing tasks in DaVinci Resolve 10. This tutorial looks at compositing, titles and Sapphire plug-ins.
In this color correction tutorial, we explore color correcting FS700 footage in our Fake Film Trailer. We'll also use Sapphire plug-ins for DaVinci Resolve.
In this installment of the Fake Film Trailer, I start color correcting Red Dragon footage. It's my first time working with this camera.
We're going to use DaVinci Resolve key frames with animating Power Windows—dialing up the tension and creating the feeling of alien ships flying over head.
Learn how a professional colorist evaluates a project (film trailer) before a single shot is color corrected - a critical step for smooth sessions.
Learn how to split color channels into RGB, YUV or LAB with the Splitter Combiner nodes in DaVinci Resolve. Watch me put them to work.
You can use the Overlay blending mode to add grain and get great colour and contrast pop, with the click of a button. Watch me put it to use.
I like to work with background plates in Resolve. This allows me to color correct my product or actor in place, allowing creative choices. Watch me work.
Creating a Black and White Look seems like an easy prospect, initially. But they can be some of the most difficult jobs. Learn how to execute this Look.
The Low Contrast Look is a flat style of color correcting. In this video, learn how we execute it without making our images look lifeless.
Has a client ever asked you to create a 'Film Look'? Yes, us too. In this video, learn how we get to this Look using some new features in DaVinci Resolve.
Sometimes when you're color correcting you need to give the job an extra wow factor. My favorite technique at the moment is tinting the shadows. Learn how.
New feature in Resolve 10 include frame blending, motion flow, rippling your timeline and varispeeds via XML. In this video I cover all these features.
Learn the recent updates and feature refinements for Resolve's Power Windows, including a new gradient window and unlimited shapes per node.
DaVinci Resolve 10 hides the 'Master Session' by default. Why do I rely on it when color correcting commercials and music videos? How do you find it again?
'Secondary corrections' are isolations to areas of an image to make specific color corrections. Here are tips on getting quick results.
Dealing with Time Warps in a color correction workflow is difficult to manage. I found a workflow, saving time and money for you and your clients!
If your clients are asking for you to render out 'handles' after color correcting their job then this Insight will help sidestep some pitfalls.
Are you looking for ideas on how to color correct the Blackmagic Pocket Camera? I share how I work with it in DaVinci Resolve.
After color correcting the music video 'Birthmark' by Cass Lowe, here's your chance to 'ask us anything' of the Colorist and Cinematographer.
There are common points that are useful for you to understand when trying to become a professional colorist. We share our top tips in this article.
You will learn two ways to use the Key Mixer Node: How to set it up as a master control for multiple masks; and how to build garbage masks for cleaner keys.
Have you ever been asked to color match a shot to a reference image for their video? Here are a few ideas on how to do that in DaVinci Resolve.
If you're looking to create a Look and want something a bit different (and even noisy)... here's how you can create the 'Korean Horror' Look.
Learn how you can track foregrounds, backgrounds + copying and pasting tracks and how to deal with objects moving behind other objects while tracking.
Have you wondered how to use the Log Controls in DaVinci Resolve? This video is an overview of all the controls and some basic theory of how they work.
DaVinci Resolve's node tree makes it tough dissolving between two completely different Looks. Learn how to do it easily, without getting lost in keyframes.
What does it mean to shoot film or video as 'Day for Night'? Learn the terminology and how to do it in this video tutorial.
Recently, clients have been coming in asking me to create a 'vintage look' for them. What is that? And how do I go about it?
Do you have burning questions about color correcting music videos? Professional colorist Dan Moran, CSI is here to give you his answers.
Learn why you need to save your color corrections to build your personal 'Look Library' of skin tones, skies/grass/water and for general looks and feelings.
When a client asks for a specific pixel dimension or Aspect Ratio learn how you can precisely set it up in DaVinci Resolve, even if no preset exists.
As part of our series on adding Depth-Of-Field while color correcting, learn my final step when executing this technique, making the image look sharp.
I spoke about the theory of adding depth earlier in this series but lets take a practical look at executing the theory so you can do this on your footage.
After my 3-part series on the theory of Depth-of-Field and techniques simulating it, the theory is put to action—learn how you can use these techniques.
This workflow is an ultimate timesaver and involves getting a single flattened video clip of the project you're grading and using Resolve to slice it up.
When color correcting, learn how to split your image into separate brightness and color channels for creative reasons (and additional technical benefits).
If you're having trouble getting real-time playback in DaVinci Resolve then try this tip for creating your own custom render cache.
Are you looking to control depth-of-field in your video images during color correction? This video shows you how to use selective sharpening and blurring.
Have you ever needed to improve how an actor 'looks' in a video? Learn the basics of how the pros do it in this Beauty Grading 101 video.
Learn how to simulate depth of field in your video using the concept of localized contrast. Part of a 'Simulate Depth' series.
How do you simulate depth of field in video? This is the first in a series of tutorials on helping your images feel more 'filmic'.
When preparing to color correct a job in DaVinci Resolve, to Preconform or Conform is a question you need to ask yourself (and know their differences).
'Clipping' image detail is considered bad. But learn how to use DaVinci Resolve's 'soft clipping' control for great creative effect.
Learn how to set up a DaVinci Resolve shared database in this step-by-step tutorial using the Command-Line interface.
Would you like to take a color correction you created in Lightroom and apply it to video in DaVinci Resolve? Here's one way to do it.
You're going to learn 3 useful and easy methods to protect your work from hard drive catastrophe by saving your Projects, Stills & Databases.