What I Do
About Patrick Inhofer
Patrick is a professional digital video colorist (with a background in editing and online finishing). He has 30+ years of experience delivering high-quality programming for Broadcast, Commercial, Corporate, and Indie clients, requiring minimal supervision.
For 15+ years, Patrick also developed a concurrent career teaching others how to digitally color correct moving images. Patrick is active in developing community resources connecting professional artisans to their peers while inspiring next generation colorists. Patrick is also the publisher of a weekly color grading newsletter, Tao Of Color Grading Newsletter. It recently surpassed 450 Sunday editions since its 2010 inception.
Patrick’s broadcast credits include Barry Levinson’s “The Band That Wouldn’t Die” (ESPN); Bruce Sinofsky’s “San Quentin Film School” (Discovery Channel); “Samantha Brown’s Places To Love” Seasons 3 & 4 (PBS); “Hopkins” (ABC News); plus work for NBC, HBO, TNT, TBS, AMC, BET, Oxygen, and J.J. Sedelmaier’s “Saturday Morning Funhouse” for Saturday Night Live.
Patrick’s feature work includes “Poliwood” by Barry Levinson (Showtime) “Lilith” by Sridhar Reddy; “Split Ends” by Dorothy Lyman; “An Affair Of The Heart” by Sylvia Caminer; 5 horror shorts for the acclaimed Bloody Cuts series. Patrick’s first credit was on the 1990 HBO Series, “The Babysitter’s Club” when the series editor allowed him to edit his first narrative scene, on an Avid, and was the assistant editor for that series (using AVR 3!).
Tutorials by Patrick Inhofer
Team Mixing Light, and members, discuss Log Gamma curves, revisit Rec-709a, Premiere Pro 2022's color management, and declining job offers.
Team Mixing Light, and members, discuss streaming Dolby Vision mp4s; Rec. 709a (what is to be done); and consumer displays for grading.
Flanders Scientific's CEO visits with Mixing Light members answering questions in this Office Hours conference call.
The team is joined by our newest Contributor, Zeb Chadfield, answering business-related questions on being a colorist and getting paid.
Team Mixing Light helps our members work through confidence problems color grading skin tones, drones, and laptop displays in a live call.
Our member-to-member forums are live! Learn how to stay connected with the community and how to access the Slack Forum Notify system.
Team Mixing Light, in a live conference call, takes member questions on Resolve's HDR palette and the practice of handing over project files.
Team Mixing Light discusses member questions including: TrueNAS storage, archival footage artifacts, budget HDR monitoring, and security.
Colorist Patrick Inhofer shares how he modified his approach to Resolve's Color Warper - and now rarely uses 'Hue vs' and 'Sat vs' curves.
Learn how to build Color Warper 'Pin Patterns' for flexible saturation fixes in DaVinci Resolve and integrating them into fixed node trees.
This is our first Office Hours Livestream. Four Mixing Light Contributors take and answer questions from members in a livestream.
Mixing Light's new CEO shares the changes that are being made to the service, and the reasoning behind these changes.
Mixing Light announces a change of ownership with Patrick moving up as owner/CEO as Robbie and Dan step away. Get the full story.
This series returns with stories on Netflix recommended displays; being a better colorist; color harmonies; and note-taking.
Colorist Patrick Inhofer shares a behind-the-scenes look at color grading an animated short film - and how it differs from live action.
Learn how to tag a single clip with multiple 'input color spaces' in DaVinci Resolve when executing a 'flat file'/preconformed workflow.
Team Mixing Light hosts Hungarian colorist Dávid Láposi to discuss creating a personal, story-based demo reel to help advance your career.
In Part 2 of our series on learning how to use Resolve's Serial Nodes, we look at combining them with Layer and Parallel Mixer nodes.
Today's Agenda: What do digital video post production professionals need to consider when buying a storage solution for their digital media?
How does the DaVinci Resolve Mini control surface manage to control 7+ color wheels in the HDR Palette, with only 3 physical trackballs?