Trimming RED Footage Using DaVinci Resolve's Media Manager

Learn how you can trim RED footage and copy to your hard drive only the portions of your clips needed to recreate your timeline, saving hard drive space.

Color Correction Looks: Creating The 7D Korean Horror Look

If you're looking to create a Look and want something a bit different (and even noisy)... here's how you can create the 'Korean Horror' Look.

Tracking Power Windows: Tips and Tricks in DaVinci Resolve

Learn how you can track foregrounds, backgrounds + copying and pasting tracks and how to deal with objects moving behind other objects while tracking.

Color Correcting with Log Controls in DaVinci Resolve: An Overview

Have you wondered how to use the Log Controls in DaVinci Resolve? This video is an overview of all the controls and some basic theory of how they work.

How To Blend Between Color Corrections Into The 'Day For Night' Look

DaVinci Resolve's node tree makes it tough dissolving between two completely different Looks. Learn how to do it easily, without getting lost in keyframes.

How to Build A 'Day For Night' Look - Color Correction Technique

What does it mean to shoot film or video as 'Day for Night'? Learn the terminology and how to do it in this video tutorial.

How To Set Up Your Color Suite + Monitoring Video in 444

In this podcast, Team Mixing Light answers two member questions: How do we set up our color correction suites? How do you set up monitoring in 4:4:4?

How to Build a Vintage Look For Your Videos

Recently, clients have been coming in asking me to create a 'vintage look' for them. What is that? And how do I go about it?

How to Use Scopelink for Scopebox in Premiere Pro (and FCP X)

If you're looking for scopes to use with Adobe's Premiere Pro, After Effects or Apple's Final Cut Pro - check ScopeLink, a powerful feature of ScopeBox.

Color Correcting A Music Video: Ask Me Anything

Do you have burning questions about color correcting music videos? Professional colorist Dan Moran, CSI is here to give you his answers.

The Case For Completely Avoiding LUTs (And Going DIY)

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'.

Build Out Your 'Colorist Toolbox' By Building A 'Look Library'

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.

What Are the Limitations of LUTs When Color Correcting in 32-bit Float?

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.

How To Apply Custom Aspect Ratios In DaVinci Resolve

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.

Using LUTs in Adobe Photoshop: Applying Grades To Still Images

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).

Adding Depth-of-Field to Video: Sharpening & Blurring In Action

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.

Adding Depth-of-Field To Video: Localized Contrast In Action

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.

Hands-On The Sony BVM-F250A OLED Reference Monitor

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?

How to Composite Graphics in SpeedGrade CC

Compositing graphics in SpeedGrade - even in a Native SpeedGrade project - is easier than you think! Learn how you can do it.

Waveforms, Legal Range And The Differences Between Avid and Resolve

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?

Adding Depth To Video : Putting Theory Into Action

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.