Peter Postma of FilmLight shares his involvement in creating foundational color grading tools and standards at Kodak and FilmLight.
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
Four Mixing Light Contributors help one of our members solidify their color management settings & workflows for HDR and cinema color grading.
Cullen Kelly shows how you can explore the candidate ACES 2.0 output transforms. Learn the differences compared to the current ACES release.
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!
Colorist Joey D'Anna breaks down his color grade of an indie feature - showing how he executed the goals & technical challenges of this film.
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.
Colorist Jason Bowdach teaches you his approach to developing and evaluating technical PowerGrades (and how it helps your creative grading).
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.
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.
Join colorist Joey D'Anna as he answers node-based color management strategies for ACES and RCM workflows (including groups and shared nodes).
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!)!
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.
In this Insight, Colorist Joey D’Anna shows you how to move an SDR grade into HDR using a Custom ACES fixed node structure.
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.
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.
Learn to use DaVinci Resolve's Fusion page to build custom, reusable transitions to work inside a node based ACES pipeline.
In the last installment of his series on the essentials of look development, Cullen Kelly guides you through the concept of preferential color mapping.
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.
In this episode, we discuss if project-wide or more custom approaches to color management are the 'right' way to do things.