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A Career Empowering Colorists: Talking with Peter Postma
Peter Postma of FilmLight shares his involvement in creating foundational color grading tools and standards at Kodak and FilmLight.
Accurately Viewing Fusion Compositions in ACES Workflows
Images in Fusion can look different to the Edit and Color pages when color management systems clash. Here's how to fix that in ACES workflows
Office Hours LIVE! Color Management, HDR, & Cinema Grading
Four Mixing Light Contributors help one of our members solidify their color management settings & workflows for HDR and cinema color grading.
How To Install And Evaluate The Upcoming ACES 2.0 ODT
Cullen Kelly shows how you can explore the candidate ACES 2.0 output transforms. Learn the differences compared to the current ACES release.
Substituting ACES ADX for Cineon Film Log With Film Looks LUTs
Explore how to get better results from Resolve’s Film Looks LUTs by leveraging the ACES ADX standard — even if you're not grading in ACES!
Using Color Grading To Tell A Decades-Long Story
Colorist Joey D'Anna breaks down his color grade of an indie feature - showing how he executed the goals & technical challenges of this film.
Film Print Emulation: Paul Dore’s ACES DCTL Look Modification Transform
In Part 3, learn how to go beyond LUTs for an artistic approach to emulating film print looks using Paul Dore's DCTL in an ACES workflow.
Creating And Evaluating PowerGrade Tools - Tips and Tricks
Colorist Jason Bowdach teaches you his approach to developing and evaluating technical PowerGrades (and how it helps your creative grading).
DaVinci Resolve 17.4.5 - Custom YRGB Output Color Spaces
Colorist Joey D’Anna explains why the new Output color space setting in DaVinci YRGB projects is a great tool for node based color management.
Colourlab Ai - Working In A Color Managed Workflow
In Part 3 of this series, Jason Bowdach demonstrates how to use Colourlab Ai in a color-managed workflow in Resolve and shows new features.
Office Hours LIVE! - ACES Color Management Using Nodes (in Resolve)
Join colorist Joey D'Anna as he answers node-based color management strategies for ACES and RCM workflows (including groups and shared nodes).
Custom ACES SDR to HDR Part 3 - Dolby Vision Trims
Learn how to use the original SDR color grade as a reference for a new SDR Dolby Vision trim from an HDR re-master (gulp!)!
SDR To HDR - Working With Graphics In Node-Level Color Management
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.
Custom ACES: SDR To HDR - Part 1
In this Insight, Colorist Joey D’Anna shows you how to move an SDR grade into HDR using a Custom ACES fixed node structure.
Binary Logic In The Node Tree: Creating Procedural Node Structures
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.
Working Around the ACES ‘Look’ With OpenDRT
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.
Creating Reusable Custom Transition Presets In Fusion
Learn to use DaVinci Resolve's Fusion page to build custom, reusable transitions to work inside a node based ACES pipeline.
Look Development Part 3: Sweetening The Color Palette
In the last installment of his series on the essentials of look development, Cullen Kelly guides you through the concept of preferential color mapping.
Color Grading Challenge – Tri-X Style Black & White
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.
Color Management The 'Right' Way?
In this episode, we discuss if project-wide or more custom approaches to color management are the 'right' way to do things.
Look Development Part 2: Dialing In The Contrast Curve
In Part 2 of his series, Cullen Kelly takes a look at dialing in the contrast curve for a look with the new HDR Zone tool in Davinci Resolve 17.