Color Grading In Spectachrome Part 2 - Working With The Fuji XT-3

Working with new cameras is always a challenge. Get an inside look at what Dan does when working with the Fuji XT-3 camera

2019 Mac Pro - One Colorist's Thoughts After Switching Back To The Mac

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.

Working With The ARRI Alexa Mini LF

A professional DIT shares gets us up to speed on the ARRI's large format mini camera. Plus, learn about its unique ProRes codec.

Pay Transparency - What Are Current Rates for US Colorists and DITs?

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.

Color Correction Gear Head: January 2020 Edition

In this installment of Color Correction Gear Head, Robbie shares some essential items that went into the building of his new facility.

Color Grading 'Origins' In Baselight - Project Overview

In this new series, Dan's grading the short film 'Origins' (using Baselight). It's got VFX, ACES, multiple deliverables (and light sabers).

Inside Pat's Color Grading Head - The Evolution of His Fixed Node Tree

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.

Emulating Film Halation in DaVinci Resolve

Learn two different methods (with different levels of control) of emualting the beauty of film halation using DaVinci Resolve.

Looking Back On The Past Decade & Forward To The Next One

In this episode, we discuss the past decade and speculate on the next 10 years in the world of color grading.

Is the Disney + Series 'The Mandalorian' Fake HDR?

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?

Creating Supplemental IMF Packages in DaVinci Resolve

What is an IMF package? How doyou use DaVinci Resolve to create supplemental IMFs for delivering fixes and alternate versions?

What's Up With Supplemental IMFs?

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.

Why Is Color Grading So Hard (and what can you do about it)?

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.

How to Set Up Premiere Pro for Quick Color Grading Sessions

Learn how to set up your physical workspace for quick color grading in Adobe Premiere Pro. Plus, optimizing the software for your workspace.

Are You Punching Below Your Weight? Is There Anything To Be Done?

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.

Am I ready for client supervised color grading sessions?

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?

Broadcast Promo Finishing Workflows in DaVinci Resolve

Learn how to use DaVinci Resolve to finish and output coutless versions of broadcast promos, easy fast and without any mistakes.

Color Grading In Spectachrome - Starting With Grain

Dan answers some comments from members about why he adds his grain to the image at the very beginning of his node graph

How to Protect Your Company and Clients from Email Spoofing

As media professionals we need to protect our digital identities from being used to spear-phish our clients. Learn how DMARC does this.

Don't Hate: Tips For Not Resenting Projects Or Clients

In this Insight learn several strategies for not resenting projects and clients & getting totally burned out.

Understanding the Future of Color Grading - Part 4

The film and television production and distribution pipeline is quickly evolving to support wide color gamuts. What's pushing this change?