On Thursday join Cullen Kelly for a live Q&A conference call about coding DCTLs. This wraps up our 10-part intro series on coding for Resolve.
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.
New Mixing Light Contributor Luke Ross kicks off a 20-part series on learning Baselight Student, for newbies and experienced colorists alike.
Colorist Cullen Kelly finishes off coding a split-toning Resolve DCTL plugin with a visual overlay showing how the RGB channels are modified.
In part two of his series, Colorist Joey D'Anna shows you how to color manage graphics when trimming a project from SDR up to HDR.
Colorist Cullen Kelly finished defining his Davinci Resolve DCTL plugin. Learn how he tweaks the interface, eliminating 'dead zones.'
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?
DaVinci Resolve 17.4 is a substantial update. Colorist Joey D'Anna explores his favorite features, big and small, on the Color & Edit Pages.
In this Insight, Colorist Joey D’Anna shows you how to move an SDR grade into HDR using a Custom ACES fixed node structure.
In an application as deep as Resolve its easy to forget about a feature or not even know one was there! In this Insight, Robbie Carman explores some of these
In Part 7, Colorist Cullen Kelly shows how to add split-toning into the custom DCTL. Then he debugs and commits it to the main GitHub branch.
Colorist Patrick Inhofer shares a behind-the-scenes look at color grading an animated short film - and how it differs from live action.
Colorist Joey D’Anna shows you his methodology for nailing challenging power window tracks in DaVinci Resolve
What does binary logic have to do with color grading? Colorist Joey D'Anna shows you how to build switches and logic into your Resolve node structure.
In part 6 of his ongoing series, Cullen Kelly explores how to combine two separate DCTLs for increased user functionality without adding complexity.
ACES is an extremely popular color management pipeline but its RRT can impose a ‘look’. In this Insight learn about OpenDRT & how to implement it.
Colorist Joey D'Anna shows how to set up and use the open-source software 'Syncthing' to share media across three remote locations.
Coloring Reality TV can be a huge undertaking. However, if you organize and prepare, you'll deliver a high-quality show on time.
In this Insight, Joey D'Anna shows you the 3 different toolsets inside the DaVinci Resolve Key Panel, and how they change for different nodes.