Do you have burning questions about color correcting music videos? Professional colorist Dan Moran, CSI is here to give you his answers.
You shouldn't be a slave to LUTs... learn how to quickly decide if they're working. And if not, learn to throw away those LUTs and just 'Do It Yourself'.
Learn why you need to save your color corrections to build your personal 'Look Library' of skin tones, skies/grass/water and for general looks and feelings.
When using Look-Up Tables you've got be careful with LUTs and 32-bit Float... otherwise you may end up clipping out valuable image detail. Learn why.
When a client asks for a specific pixel dimension or Aspect Ratio learn how you can precisely set it up in DaVinci Resolve, even if no preset exists.
Learn how to use a color correction exported as a LUT and use it in Photoshop. Plus—a small caveat in this workflow (about how Photoshop applies LUTs).
As part of our series on adding Depth-Of-Field while color correcting, learn my final step when executing this technique, making the image look sharp.
I spoke about the theory of adding depth earlier in this series but lets take a practical look at executing the theory so you can do this on your footage.
Learn why a professional colorist is eager to finally get this uber-expensive OLED display into his color correction suite. What does he think about it?
Compositing graphics in SpeedGrade - even in a Native SpeedGrade project - is easier than you think! Learn how you can do it.
Avid's Y Waveform sets black above the bottom of the scale whereas Resolve's Waveform sets its blacks at the bottom of its scale. Which is correct?
After my 3-part series on the theory of Depth-of-Field and techniques simulating it, the theory is put to action—learn how you can use these techniques.
In this Podcast we're answering two questions: Managing unhappy clients + helping clients understand why their color decisions look different at home.
Are you working with Arri Alexa Footage in Premiere Pro or SpeedGrade? This tutorial will walk you through the workflow.
Are you struggling with getting good results from the FCP X Color Board? Learn how to analyze its image processing and build a custom workflow.
This workflow is an ultimate timesaver and involves getting a single flattened video clip of the project you're grading and using Resolve to slice it up.
When color correcting, learn how to split your image into separate brightness and color channels for creative reasons (and additional technical benefits).
If you're having trouble getting real-time playback in DaVinci Resolve then try this tip for creating your own custom render cache.
Are you using the FCP X Exposure controls efficiently? Is there an approach to improve your results? Most likely, yes. Click to learn more.
Are you looking to control depth-of-field in your video images during color correction? This video shows you how to use selective sharpening and blurring.
Flat boring outdoor shots are very common when color correcting. What can you do to fix it? Learn a technique based on Classical painting theory.