Dan shares his breakdown of cleaning up a bike frame using the color compressor and node resizing in Resolve
In Part 3 of this series, you learn about the evolution of digital video from Standard- to High- Dynamic Range. Why is it here to stay?
Dan shares his thoughts behind his solution to removing a reflection using Resolve's Color Page - on a 16mm shot with moving grain structure.
Learn how to create, export, and import ASC-CDL compliant color grades using DaVinci Resolve. Plus tips and tricks with CDL data.
Did you know Premiere Pro CC 2019 has three project types? Standard, Shared, and Team. How do you choose & what are their differences?
Troubleshoot an interesting problem for a more in-depth understanding how Resolve Color Management (RCM) works.
Learn the workflow of the 3D toolset in DaVinci Resolve Fusion. Discover how to change materials, add reflections, color grade 3D objects.
What's harder than faking a VHS-look from a high-end camera? Intercutting that look with actual crummy VHS. Learn one way to do it.
Getting paid quickly is a key part to running your own business. In this Mailbag we discuss strategies for getting paid on-time.
Every year Dan looks back at the previous year and shares his greatest successes. This year, he focuses on his most memorable jobs.
Do you perform repetitive tasks on a regular basis when color correcting or finishing? Then learn how to use DCTLs to automate those tasks!
Learn how to avoid two problems when color correcting using Premerie Pro's Lumetri workflow. It's all about recovering clipped detail.
Maybe you've heard of blockchain? Learn how this new technology is going to impact the post production industry (and what's holding it back).
Isolate an object in a black & white film, isolate its color, and use keys to shift hue, saturation, and gain. How hard can that be?
Dan wraps up his behind the curtain series with a watch through and matching pass on the whole video to make sure it flows as a whole film
Take an introductory look at the Color Decision List (CDL) and learn about the strengths and weaknesses of an ASC-CDL based workflow.
Team Mixing Light revisits the idea of using a single large format monitor in a color suite. Is it a viable solution?
In Part 1 you learned how to remove an object. Now, rotoscope the motion of foreground elements using Polyline masks and keying.
A successful commercials colorist color grades dailies. He shares his challenges, mistakes, and how it's different than commercials.
Dan shares the reasoning behind his new showreel and also gives some tips on when and where to share it for maximum views