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From Mac to PC - What Post Pros Need To Know Building A Custom PC
Are you a Mac-based Post-Production professional moving to the PC platform? Eric Bowden, custom PC builder, talks about the differences.
Getting To Know The EasyDCP Resolve Plugin: Streamlined DCP Creation
Want to make a DCP directly from Resolve? In this Insight, Robbie explores the essentials of using the EasyDCP Resolve plugin.
Feature Grading: Getting Started
Getting started on a feature film can be a daunting process. Dan shares his experience on getting the ball rolling slowly and carefully
Colorist Podcast Episode 09
In this episode of the colorist podcast, Josh talks to Technicolor senior colorist Peter Doyle about his amazing career & many other subjects
DIT Fundamentals: Selecting an Entry-Level, Mid-Priced and High-End Cart
Do you want to be a Digital Imaging Technician (DIT) on film or video sets? Learn how to outift your DIT cart (and why it matters).
Is Perception Hurting Your Color Correction Business?
Client perception about you & your business plays a large role in winning work.In this Insight learn how to shape client perception
How To Use DaVinci Resolve's Color Match In An ACES Pipeline
DaVinci Resolve's 'Color Match' function is simple but can be confusing. Learn how to properly set up Color Match in ACES workflows.
How to Color Match using Color Charts with RAW (or LOG) Footage
DaVinci Resolve's 'Color Match' is terrific for Color Charts recorded on-set. Learn the tricks to this feature if your Footage is RAW or Log.
Feature Inspired Color Grading Looks - Blade Runner 2049
Inspired by the Blade Runner 2049 trailer Dan shares his attempt at recreateing the intense warm washed look.
Breaking Geographic Boundaries: Remote Grading Part 1
In part 1 of a 3 part series, we explore the different methods of remote grading and how remote work can help your bottom line.
How To Prepare And Quote A Bid To Color Grade A Feature Film
Dan jumps from commercials to features in this series and shares his guide to getting organized and plan for efficient feature grading
Saving The Day With Input Sizing in DaVinci Resolve
If you're having trouble with you sizing in Premiere Pro not being replicated in DaVinci Resolve, the Input Sizing control may be your hero.
Using Reference Monitors & LG's OLEDS Together In The Color Suite
Team Mixing Light discusses choosing colorist reference monitors. Plus, using LG's consumer OLED televisions in our color suites.
Screwing Up A Flat Bid: 5 Strategies To Prevent & Fix Low Flat Bids
In this Insight, Robbie shares some hard-won tips on what to do when you screw up the pricing on a flat bid & how to prevent these mistakes.
How to Handle Scaling in XML Workflows for Premiere Pro CC
Learn what settings to use in Premiere Pro CC when Scaling in XML workflows. And the settings to use for importing into DaVinci Resolve.
Developing Looks And Settling On Your Exposure Levels
In How I Grade Part Two Dan shares more steps in his grading process. We look at auditioning looks and checking the correct exposure
Understanding the Premiere to DaVinci Resolve Image Sizing Handoff
If you have problems exporting XMLs with image sizing from Premiere to DaVinci Resolve, this video explores the settings you need to know.
Colorist Podcast Episode 08
In this episode of the colorist podcast, Josh talks to industry veteran/legend Dale Grahn about his storied career & many other subjects
How A Colorist Makes Decisions Through The Grading Process
Dan attempts to walk through his thoughts when grading step by step from quality control to setting the first primary correction
The Look Of 'Westworld' & Look Creation Philosophies
Robbie, Pat, and Dan discusses the look of the series 'Westworld' and our look creation philosophies when color grading.
Why You Need to Master the 'Frame Size' Option in Premiere Pro CC
If you send your timelines from Premiere Pro CC to DaVinci Resolve then you know resizes often fail. Your 'Frame Size' selection is the key.