Loading...
Shot Matching in Premiere Pro—The Color Correction Protocol
Shot matching in Premiere Pro CC is the second step in The Color Correction Protocol. Learn how to stack filters and get the job done!
From The Grading Room: Turning A Session Around
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.
Understanding the Scene Cut Detection Workflows in DaVinci Resolve
DaVinci Resolve's 'Scene Cut Detection' workflow can be efficient. But it gets confusing if you've got revisions—here's one way to handle it.
From The Grading Room Grading Underwater Footage
Grading underwater footage is like grading footage from an alien planet. Dan shares his approach and technique for working in that world
Mixing Light at NAB 2016 plus Film Style Grading plus sRGB Deliverables
It's a busy day for Team Mixing Light as we discuss our NAB 2016 plans, log style color grading and handling sRGB deliverables.
The Premiere Pro Color Correction Protocol—Contrast
Learn how to use Premiere Pro Color Correction filters in a logical and organized method for any sized project. We start with contrast.
Shot Matching 101 - Techniques for Matching Black Levels
In this insight dan shares his approach and methods to matching black levels. Matching is hard but with practice you can become much faster!
Advanced Finishing Techniques - Dealing with Picture-In-Picture Effects
How do you color correct Picture-In-Picture effects in DaVinci Resolve, when all you have is a single rendered movie of the entire timeline?
4 Things To Know About Working With Look Up Tables
Using Luts in a color correction workflow is common, but everything doesn't always worked as planned. Learn 4 ways to work around look up table limitations
DaVinci Resolve - How to Use External Scopes with Video vs Data Levels
Learn how the 'data levels' and 'video levels' Project Setting effects your external scopes when color correcting in DaVinci Resolve.
Shot Matching - Learning Through A Commercial Case Study
Dan shares a job as a commercial case study in shot matching - from pristine stock footage to constantly changing clouds.
Overflow: Is There A Right Time To Bring On Help?
Being a busy colorist is a good thing! But when you get too busy, you have to think about how to handle overflow work or when to just say no.
How To Work With Non-Broadcast Frame Sizes in DaVinci Resolve
Are you trying to work with non-HD Frame Sizes in DaVinci Resolve? It's very common for display advertising and this video will show you how to handle it.
From Big Shop To One Man Show - A Workflow To Minimize Downtime
Building a one man workflow to get the maximum out of your time grading.
Working with Camera RAW in Premiere Pro - Part 2
Working with LUTs and Camera Raw in Premiere Pro can be tricky. In this video, learn one workflow that makes it a bit easier.
Getting Grainy: 3 Different OFX Plugins
In this Insight Robbie explores 3 different OFX grain plugins for Resolve from Film Convert, Boris, and GenArts and explains which is his favorite and why
Showreel 2016 – Who Is Your Target Audience?
It's time to cut your reel and Dan shares his advice on his Showreel 2016
Exploring the Colorista III HSL Keyer in Final Cut Pro X
Take a close look at the unique (and intuitive) HSL Keyer in Red Giant's Colorista III color correction plug-in.
Working with LUTs in Premiere Pro - Part 1
Learn how to color correct with LUTs in Premiere Pro and the Lumetri Panel. Especially if your color correcting with RAW-, Log- or flat- recorded images.
HDR Essentials: Reading The Scopes In DaVinci Resolve
The Waveform & RGB Parade are essential tools for color correction. But when working with HDR footage in Resolve reading them can be slightly confusing.
An Introduction into Shot Matching
Shot Matching is one of the hardest areas of being a colorist. Dan shares his approach to going head to head with mismatched shots.