How to Properly Work with Dropbox and DaVinci Resolve
If you're using Dropbox and DaVinci Resolve as a server for your disk databases, that's not a good idea! Learn why...
Shot Matching – Match My Shot Pt 1
Shot Matching – Match My Shot Pt 1 I had an eye opening experience in my grading suite this week. Some clients of mine asked me to match grade some…
From The MixingLight: MailBag Episode 31
In this installment of From The Mailbag we explore how to sharpen quick focus pulls and discussing using the HP Z27x DreamColor display.
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.
Dealing with Scene Cut Detection Workflows
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
MailBag Episode 30: NAB '16, Film Style Grading, sRGB
In this installment of From The Mail Bag we discuss our NAB '16 plans, log style grading and 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 – 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 – Commercial Case Study
Dan shares a job from his grading suite as a commercial case study in shot matching
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.
Big Shop To One Man Show: Building A Workflow To Minimise 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
Take a close look at the unique (and intuitive) HSL Keyer in Red Giant's Colorista III color correction plug-in.