Mixing Light – July 23 Update

Patrick Inhofer

What’s New on MixingLight.com – July 23

A Message from Team MixingLight:

A month ago we recorded an audio podcast version of this ‘What’s New’ blog post. By the time it was edited and had gone through post-audio for sweetening… a bevy of new Insights Articles had been released and the podcast was already outdated.

It’s now a month after THAT debacle, making it two months since our last update—which is completely unacceptable! Our goal is to reach out to you every two weeks.

The nice thing about goals… if you miss them, just reset and try again. Consider this our Big Red Reset Button—and we’ve just pressed it.

We’re back: This is the in-case-you-missed-it-update-of –everything-we’ve-posted-since-our-last-update. On May 24. Enjoy!

(and we apologize for the length of this post… but we’re proud of all the content we’ve produced in the interim.)

One More Thing:

Keep a look out: The entire team has been working on a 4-hour stand-alone training title for Adobe SpeedGrade CC. It’ll be coming out soon and MixingLight members will be able to purchase the entire series at a seriously discounted price!

New to the Insights Library

(presented in the order in which they were released)

ML0036 Review: Sony BVM-F250A OLED Reference MonitorRobbie Carman: Robbie has a new bit of kit in his grading suite and he shares with you an In-Depth review of the Sony BVM OLED. This is the new version released at NAB 2013 with its wider viewing angle. Click through to see what he has to say about it!

ML0038 Adding Depth to Video: Using Localized ContrastDan Moran: Going from the theory (explained in earlier Articles) to the practical, Dan shows a real-life example of how he uses localized contrast to help guide the viewer’s eye.

ML 0040 The Case for Rolling Your Own LUTs Patrick Inhofer: This article explores some of the technical limitations of working with LUTs and why working with most LUTs is merely an option… not a requirement. In the end, it’s a creative choice.

ML 0041 Adding Additional Layers in SpeedGrade CCRobbie Carman: Yes, we’re colorists. But often we’re asked to integrate additional elements into our timelines… new footage, graphics, VFX. This article shows you how to do that in SpeedGrade CC using layer compositing.

ML 0043 Custom Aspect RatiosDan Moran: If you find yourself needing to set custom crops for the different aspect ratios our clients like to use, Dan shows you how to do this in DaVinci Resolve. He also includes the crop numbers he uses, as a handy-dandy reference guide.

ML 0044 Adding Depth to Video: Sharpening and BlurringDan Moran: The last in his series on Localized Contrast, Dan explores using Sharpening and Blurring tools to help give our images a greater sense of depth.

ML 0045 Using LUTs in Photoshop: Applying Grades to Still ImagesRobbie Carman: Do you need to borrow the look from a grading session and apply it to a still image? This Article will show you precisely how to do that in Adobe Photoshop – including a small caveat about how Photoshop deals with LUTs.

ML 0046 Building a Look Library: Quickly Access Looks and InspirationDan Moran: Experienced colorists have created and then trashed hundreds of Looks over their careers. This Article suggests you shouldn’t let all that work go to waste.

ML 0047 AMA: Grading a Music VideoDan Moran: Ripping a page from the famous ‘Ask Me Anything’ threads on Reddit, Dan shares his latest music video and opens himself up to questions. Watch the video, then ask away!

ML 0048 Scopelink In Scopebox: For Premiere, After Effects and PreludeRobbie Carman: Team Mixing Light loves Divergent Media’s software scopes, ScopeBox. They recently released an update with a new feature called ScopeLink. It allows live scopes running on the same host CPU as the software itself! Normally, you’d have to use a 2nd outboard computer to get this to happen. This Article goes over this new feature, how it works and why we love it.

ML 0049 Building a Vintage LookDan Moran: When a client walks in the room asking for a ‘Vintage Look’ Dan shares what he sees as the look they’re usually trying to achieve. He shows you how he does this with the little used, often overlooked YSXF controls in DaVinci Resolve.

ML 0050 Building a ‘Day for Night’ LookDan Moran: If you want to be considered a proficient colorist, you’ve got to understand the fundamentals of the Day for Night look. This Article does it with a Time Lapse.

ML 0051 Using Layers to Blend Between Grades Dan Moran: How to blend between two different grades – and do it without entering into keyframe hell.

ML 0052 Log Grading Part 1: An Introduction Dan Moran: DaVinci Resolve’s Log color wheels were a big new feature in Resolve 9. But it confuses the heck out of the uninitiated colorist. Watch this video to get an initial glimpse at how this tool works.

ML 0053 From the Mailbag #2: Suite Setup & 444 MonitoringTeam Mixing Light: A podcast / round-table discussion between Dan, Robbie and Patrick on how our grading suites are configured. And a second question about monitoring 4:4:4, dual-link, 3G and what the heck all those terms mean!

ML 0054 Tracking Techniques and TipsDan Moran: If you’re on DaVinci Resolve and still find yourself doing lots of keyframes on Power Windows… do yourself a favor, watch this Insights Article and start going home earlier.

ML 0055 From the Grading Room: Canon 7D & Korean HorrorDan Moran: How do you go from a so-so image to a definite Look? Dan breaks down a challenging shot, showing you how he works through the image, one problem at a time – until he’s got a look both he and the client are happy with.

ML 0056 Trimming RED FootageRobbie Carman: Have you ever wished you could Media Manage your RED footage, trimming it down to precisely just the frames of images that are visible in the timeline? Wouldn’t that save you potentially Gigs of storage space when copying from a client’s drive and moving .r3d files around? In this Insights Article you’ll learn precisely how to do that using DaVinci Resolve.

ML 0057 Color Matching: To a Brand or LogoDan Moran: If there’s one color that commercial clients know precisely what it should be, it’s the color of their brand or logo. Unfortunately, what they shot on set never matches what’s captured on disk. It’s up to us to get the initial color match… and then carry it across a sequence of shots. Dan has tips on how to do this.

New to the Blog

Coloristos Episode 12 | Episode 13 – Your other favorite trio of colorists are back! They’re podcasting about roundtripping (Ep 12) and colorist inspiration (Ep 13).

The Future of DaVinci: Circa 1987 – Before the software color grading system Resolve was a twinkle in anyone’s eye… there was the DaVinci Telecine… built with circuit boards and bespoke CPUs. Robbie shares this YouTube gem of a 1987 sales video showing the future of DaVinci—and the core of a toolset inside every modern color grading system. Fun.

Virtual Forge: A Pattern Generator in Your Mac – If you want to calibrate your monitor to seriously close tolerances around a specific specification (Rec 709 for HD, for instance), then you need to generate some seriously accurate test signals for your probe to accurately profile your reference monitor. SpectraCal just released Virtual Forge, a Mac-based pattern generator that’s 90% less expensive than any previous offering from anyone… including their own! Robbie gives you the low-down.

Why Color Correct: The Essential Question – As colorists, we tend to think everyone knows about color correction and its importance in crafting the final story. WRONG! It’s only now that word is getting to our clients… and to their clients. But the number one question for a client being newly exposed to color correction is: Why Color Correct? Patrick links to blog post he thinks does a great job explaining the nuance of color correction… which should give you an idea of how to start answering that most fundamental question: Why bother?

Membership News

Discussions – Dan’s Insights Article on Blending between Grades in DaVinci Resolve sparked an Ah-Ha moment. Check it out and see if it does for you too!

How to join in the Discussion – Some members aren’t familiar with our 3rd party commenting system, Disqus. To comment on an article you’ll need to log in a second time via the Disqus system… you’re not automatically signed in when logging into Mixing Light.

You can use one of your social media accounts to log in or create a free account with Disqus. We just created new user accounts with them. We’re using this commenting system since it’s very popular, is a central place where you can manage your comments on any blog that uses Disqus and it offers features that allow members to see conversations across the entire MixingLight website. So go ahead, log in to Disqus and join the conversation!

Speed is the Name of the Game- Being fast as a colorist is mighty valuable. Being a fast website? Also valuable. Over the next month MixingLight will be working on various optimizations to speed up the website. If something is broken, let us know. Occasionally, our quest for speed breaks one or two elements on the website that are not immediately apparent to us. So, if you see something, say something! Thanks. 

Ask Us Your Questions – Have a question you’d like Team Mixing Light to discuss? Just ask. We’re getting ready to do another ‘From the Mailbag’ and would love to know what’s been itching you.

Happy Grading!

– Team Mixing Light


Leave a Reply