Our focus in our Insights Color Correction Library is on creating original content. But sometimes we see original thoughts on other websites that you need to read. In this post, we share a few of those don't-miss insights from the internet.
In this installment of From The MailBag, Team Mixing Light discusses Dolby Vision. Building on Robbie's recent articles, Patrick & Dan ask Robbie some questions about workflow and his recent trip to Dolby in Burbank, CA.
Part of Magic Bullet Suite, Denoiser III has been rewritten from scratch. Its simplified UI makes it easy to use. But can we expect the same kind of results than a more expert plugin like Neat Video? Let's get a closer look and make comparisons.
As post production becomes increasingly decentralized, there are growing opportunities for us to take our talents and work abroad. This Insight offers first-hand wisdom from editors and colorists all over the world, working internationally.
Dan shares a tale from the grading room of a film emulation gone wrong and how by missing the mistake was destined to fail in the grade with his clients.
Film restoration and remastering is a very unique specialty in the craft of digital color correction. Learn how a Hollywood colorist handles the unique challenges. Get some insights into his workflow and 'insider' stories.
The color restoration of classic films is one of the few 'Dark Arts' of digital color correction. Colorist Jim Wicks shares his challenges - and lessons learned - from this unforgiving niche of the craft of color grading.
When you have complex node trees rolling it into a show LUT can make your life a lot neater and easier. Within seconds you have your own custom starting point for your show or movie.
In this installment of From The MailBag, team Mixing Light discusses the first ever Blackmagic Design Conference & Expo as well as our thoughts on Apple's latest - the iMac Pro.
FCPX 10.4 update introduces some long-awaited color correction features, like wheels and curves. This Insight reviews the standout points of this new color correction toolset - and gotcha's you should understand.
As a DIT, at some point you will be asked, "What hard drive do you recommend for our shoot?" Before you answer, ask yourself: Is your favorite hard drive the proper drive for THIS job?
In part 2 of our Dolby Vision series you learn more about suite setup. Then you dive into using the Dolby Vision trim controls (in DaVinci Resolve) for Standard Dynamic Range TVs. Plus, Dolby Vision 'mezzanine' file creation.
The Elgato Stream Deck is a powerful control surface add-on for colorists, especially when paired with autohotkey. In this insight, learn to take that functionality to the next level with advanced scripts and workflow examples.
In Part 1 of this series, get an overview of Pomfort's Silverstack, its various versions, and subscriptions; plus learn the difference between Digital Imaging Technician (DIT) and Digital Loader.
Colorist Dan Moran spends the first day of January 2018 looking back on his best work from 2017. Picking his favourite commercials, music videos and long form narrative projects and also sharing the stories behind when he enjoyed them so much.
White balancing is a basic color correction task. And Temp or Tint controls are often a time-saving shortcut. But they don't always work. Learn why?
We all fail. The trick is to learn how to learn from our failures; by setting up a system for honest evaluation that serves you, years into the future.
In the last installment for 2017, the Colorist Podcast looks back at some key moments from the series this year with a year in review highlights episode
Getting into the holiday spirit, in this Insight Robbie shares 12 strategies to improving your color correction business in 2018
How do you save a shot that has exposure changes and compression artifacts? Patrick shows you how he does it, with footage you can download.
Being able to offer Basic Cleanup in the grade is a great ability. It saves moving to and from a compositing application and helps finish off that job.