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Colorist Inspiration – April 2016
NAB is over and a whole heap of new tools and toys have arrived for us colorists. The perfect time for another installment of colorist inspiration. This installment is slightly…
Resolve 12.5 - Dan's Favorite New Can't Miss Features
Resolve 12.5 is here and Dan shares his thoughts on the exciting brand new features and how they can be used to help you colour correct better.
Resolve 12.5 First Look - Patrick's Gems You Need To Know
This DaVinci Resolve 12.5 First Look shares a working colorist's initial thoughts about the big new update to this color correction software.
Resolve 12.5 - Robbie's Top Features
Another April, another version of DaVinci Resolve! In this Insight, Robbie shares his top new features of this exciting release.
Shot Matching Challenge – Match My Shot Part 2
Dan shares his node breakdown from his match my shot challenge including a downloadable Resolve project
Premiere Pro Color Grading - Working with Vignettes to Control the Eye
Step 3 in our 'Premiere Pro Color Correction Protocol' is to control the viewer's eye. Learn how—by working with vignettes and custom masks.
How to Properly Use Dropbox with DaVinci Resolve (and avoid disaster)
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 Challenge – Match My Shot Part 1
Shot Matching – The Challenge I had an eye-opening experience in my grading suite this week. Some clients of mine asked me to match grade some new shots that were…
How To Sharpen Quick Focus Pulls? Plus, using the HP Z27x DreamColor.
The Team answers a member's question about sharpening quick focus pulls. Plus they discuss 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.
Understanding the Scene Cut Detection Workflows in DaVinci Resolve
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
Mixing Light at NAB 2016 plus Film Style Grading plus sRGB Deliverables
It's a busy day for Team Mixing Light as we discuss our NAB 2016 plans, log style color grading and handling 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 101 - Techniques for 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 - Learning Through A Commercial Case Study
Dan shares a job as a commercial case study in shot matching - from pristine stock footage to constantly changing clouds.
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.