Working with new cameras is always a challenge. Get an inside look at what Dan does when working with the Fuji XT-3 camera
What does a colorist think of the 2019 Mac Pro after switching back to Mac? Plus, learn his thoughts about optimal specs for color grading.
A professional DIT shares gets us up to speed on the ARRI's large format mini camera. Plus, learn about its unique ProRes codec.
Are you wondering how much colorists, DITs, or one of their assistants charge per-hour in your city? Katie shares the findings from a survey.
In this installment of Color Correction Gear Head, Robbie shares some essential items that went into the building of his new facility.
In this new series, Dan's grading the short film 'Origins' (using Baselight). It's got VFX, ACES, multiple deliverables (and light sabers).
Learn the benefits of a 'fixed node tree' in DaVinci Resolve. Get a look inside one colorist's node tree - and how it evolved over time.
Learn two different methods (with different levels of control) of emualting the beauty of film halation using DaVinci Resolve.
In this episode, we discuss the past decade and speculate on the next 10 years in the world of color grading.
In this installment of From The Mailbag, we tackle a hot topic from the world of color grading this past week - is there such as thing as FAKE HDR?
What is an IMF package? How doyou use DaVinci Resolve to create supplemental IMFs for delivering fixes and alternate versions?
In this installment of From the MailBag, we're once again joined by Mixing Light contributor Joey D'Anna who gives us the skinny on supplemental IMF packages for delivery to broadcasters and OTT providers.
Do you doubt your ability to color correct moving images? Are you constantly re-doing your work? Learn what's going wrong and how to fix it.
Learn how to set up your physical workspace for quick color grading in Adobe Premiere Pro. Plus, optimizing the software for your workspace.
In this episode of From The Mailbag we discuss a member's email about how he feels he should be landing bigger projects but isn't.
A Mixing Light member has color graded for an internal team for years. But how does he know if he's ready for outside client color sessions?
Learn how to use DaVinci Resolve to finish and output coutless versions of broadcast promos, easy fast and without any mistakes.
Dan answers some comments from members about why he adds his grain to the image at the very beginning of his node graph
As media professionals we need to protect our digital identities from being used to spear-phish our clients. Learn how DMARC does this.
In this Insight learn several strategies for not resenting projects and clients & getting totally burned out.