Sometimes you have to go full cheese and pay homage to looks and films from the 70s and 80s. In this insight we create a retro Sci-Fi look
Dan is committing to doing work only in ACES in May. It's time to get out of the comfort zone & stop testing. Changing our technique is scary but also fun!
Now that most people have a basic knowledge of color correction thanks to Instagram what does that mean for us colorists?
Dan shares his inspiration for this month including BTS on Moonlight, Peter Doyle, A$AP Rocky and a Lorde video shot on 16mm
We should be spending more time looking at the timeline as a whole than focusing on shots. Nobody ever watches a single shot!
Have you ever considered hands or legs when doing a beauty grade? We spend hours on faces but the skin should match all over the body.
Sometimes when grading you end up going in totally the wrong direction have to just stop what your doing and start from scratch.
Is lens profiling something we should be looking at as colorists or is it a lot of extra effort to save a small amount of time in the grade?
Want to make a DCP directly from Resolve? In this Insight, Robbie explores the essentials of using the EasyDCP Resolve plugin.
Getting started on a feature film can be a daunting process. Dan shares his experience on getting the ball rolling slowly and carefully
In this episode of the colorist podcast, Josh talks to Technicolor senior colorist Peter Doyle about his amazing career & many other subjects
Inspired by the Blade Runner 2049 trailer Dan shares his attempt at recreateing the intense warm washed look.
In How I Grade Part Two Dan shares more steps in his grading process. We look at auditioning looks and checking the correct exposure
In this episode of the colorist podcast, Josh talks to industry veteran/legend Dale Grahn about his storied career & many other subjects
Dan attempts to walk through his thoughts when grading step by step from quality control to setting the first primary correction
Day 11: 25 Insights in 25 Days New Year Marathon Enhanced Or Natural In this Insight I’m asking the questions behind Sky Replacement and if it belongs in the…
Most of us love to use LUTs behind closed doors. Dan shares his thoughts on why and how to break out of needing LUTs
Using Haze as a grading tool is an alternative method to using Vignettes. Making things lower contrast helps them sit back in the image.
Reframing in Resolve as become common practice. Dan shares his approach to finishing in the box and shares his tips and tricks
Dan shares the skills he learned in the darkroom and how he applies them to grading black and white in DaVinci Resolve
Download the footage and follow along as professional Colorist Dan Moran, CSI color corrects a classic shot in the style of a Hollywood Western Look.
Colorist Dan Moran shares a color correction breakdown on how he approaches a new shot, sight unseen. How to make it an alien planet or a shed in a garden?
Matching Pantone references to video can be tricky at the best of the times. Get advice on getting that exact match - even if it's not precisely correct.
In Episode 6 of the Colorist Podcast, Josh Petok talks to commercial colorist Rob Bessette about his career, grading commercials & more!
Warm looks don't always have to be rosy red and cozy looking. Take a look at a non-traditional warm color and learn how to add it to your color toolkit.
In this installment of our introductory series on ACES, we explore a new working space added to the ACES 1.03 specficiation - ACEScct
In this MailBag episode, we discuss how to easily sync Resolve's LUT folder & the pros/cons of viewing HDR & SDR simultaneously
Watch how to White Balance (or Color Balance) digital video images. You'll explore 4 different tools and learn their differences.
In Episode 5 of the Colorist Podcast, Josh talks to well-known online editor & colorist Terence Curren about his work & other sujbects
Considering Final Contrast before you make your first primary correction is a huge advantage creatively to help you get the best results
In this Insight, Robbie concludes his series on Getting To Know ACES with look at essentials of using ACES for VFX roundtrips with Resolve.
In part two of the series on getting to know ACES Robbie explores more ACES terms and shows how to get setup in DaVinci Resolve.
Resolve users are often tasked with making final outputs.In this Insight, learn how to easily route multi-channel audio for output.
Dan shares his thoughts about the 2016 best color grading award nominations and asks you to predict the winner
Dan shares his experimentation with the idea of grading using lens flares for subtle lighting effects to help match and lift scenes.
In Episode 4 of the Colorist Podcast Josh talks to well-known freelance colorist Mark Todd Osborne about his work & many interesting subjects
Does the color correction math in DaVinci Resolve change depending if you're using a mouse versus using a colorist control surface?
The summer vacations are winding to a close, the kids are returning back to school and the post industry is winding up for that crazy blur that is the September…
Dan shares his story from the grading room on grading a short promo project for radiohead
Sometimes going for the film look is not the right decision. Dan shares his tips on going digital to give us great punchy sharp images.
When working with heavy looks we sometimes forget about protecting skin tone and making our artist/actor look as good as possible
If you're color correcting digital video for professional distribution, nothing is worse than having it rejected for RGB Gamut excursions!
Sometimes we get lost in the heat of the moment and over complicate our grades. Dan shares his tips for responsible grading when time is short
Conforming timelines can be time-consuming before you even start color correcting. Learn the common issues (and how to fix them).
You always deliver final video files but should you deliver project files to your clients too? Learn more in this Insight.
Dan shares his top grades from July as a source of great colorist inspiration
Dan shares his techniques for taking your image to the limit while maintaining legal levels.
Every once and a while you'll need to create a stylized bad TV or surveillance camera look. In this Insight learn how.
Dan shares some looks from his past focusing on two Early '00s looks in particular. One home digital camera one heavy 35mm music video
Supervised color grading is hard! In this Insight, Robbie shares 5 strategies for managing a supervised session.
Early film looks are a very popular request from clients.They can be tricky to build quickly so Dan shares his DRX files that you can download
At some point in every colorists career you will be asked to make some looks throughout the ages like 60s, 70s, 80s, 90s. Dan shares how.
Summer has arrived and the annual down turn in business begins. My clients first head off to the cannes lions festival and then off on their summer holidays. It’s the…
If you do video color correction, watch 'Getting Started with CalMAN ColorMatch' to learn how to test if you're display is accurate.
Adding grain can help add a wonderful cinematic feel to a project but in the world of heavy compression is it a smart decision?
Dan shares parts of his conversation about the grade on recent wonderful life commercial grade.
Sometimes projects call out for extreme warmth to help backup the story. Shows like breaking bad show that going to the extreme like in the desert pay off.
From The Grading Room Fashion Commercial Recently I graded a beautiful fashion commercial so I thought it would be great to share another tale from the grading room with you…
'Does my color correction display need recalibration?' Getting Started with Lightspace DPS (a free app) helps you answer that question.
If you do video color correction, do you know if your reference display is accurate? Learn how to find out. The first video in a series.
Challenge yourself weekly for the next year to build better and stronger and cleaner grades. Practice makes perfect
NAB is over and a whole heap of new tools and toys have arrived for us colorists. The perfect time for another instalment of colorist inspiration. This instalment is slightly…
Another April, another version of DaVinci Resolve! In this Insight, Robbie shares his top new features of this exciting release.
In this installment of From The Mailbag we explore how to sharpen quick focus pulls and discussing using the HP Z27x DreamColor display.
Grading underwater footage is like grading footage from an alien planet. Dan shares his approach and technique for working in that world
In this installment of From The Mail Bag we discuss our NAB '16 plans, log style grading and sRGB deliverables.
In this insight dan shares his approach and methods to matching black levels. Matching is hard but with practice you can become much faster!
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
Learn how the 'data levels' and 'video levels' Project Setting effects your external scopes when color correcting in DaVinci Resolve.
Dan shares a job from his grading suite as a commercial case study in shot matching
Learn how to color correct with LUTs in Premiere Pro and the Lumetri Panel. Especially if your color correcting with RAW-, Log- or flat- recorded images.
The Waveform & RGB Parade are essential tools for color correction. But when working with HDR footage in Resolve reading them can be slightly confusing.
Shot Matching is one of the hardest areas of being a colorist. Dan shares his approach to going head to head with mismatched shots.
Dan rounds up the best colorist inspiration from February 2016 with some of the best grades from the new year so far.
Sometimes inspiration can strike in the strangest of places. In this insight Dan shares how he finds inspiration from unlikely sources.
Dan shares his attempt and look inspiration in DaVinci of a fabulous Bond movie inspired 35mm film look from the music video Genghis Khan by Miike Snow.
Look Inspiration – 70s TV Inspired Retro Look There is a time in every colorists life when we need to add some retro 70s TV vibes to footage! This insight…
HDR video is coming, and coming fast. In this Insight, learn how to get setup and work with HDR video in Premiere Pro's Lumetri Color Panel.
Sometimes we need to add more to our image to sell a flashback. Dan shares his tips for a firey look and adding diffusion and motion blur.
Dan shares two of his favourite B&W Looks and the DRX files for you to download
The Lumetri Color Panel is a huge technical and workflow boost in Premiere Pro CC 2015. Learn why, and how to use the Lumetri Color Panel.
Pesky warning messages about inaccessible cache & still locations in Resolve can be a nusiance. Learn how to fix them in this Insight
In this episode, Team MixingLight discusses HDR and best practices for setting saturation levels for log encoded footage
2016 is almost here! Check out this Insight to discover some New Year's resolutions to strengthen your color grading business.
Day 16: 25 Insights in 25 Days Holiday Marathon Colorist Inspiration – Dan’s Best Of 2015 As the year comes to an end I thought it would be the perfect…
Why is color correcting in Premiere Pro so hard? This article explores Premiere's 'legacy' color correction filters and finds the answers.
Dan shares his ENR processed look with his nodes and footage to grade along with at home.
A cold commercial look can help bring bright natural commercial into a moody and grungy world
HDR is the 'next big thing' for color grading.In this Insight, get up to speed with two discussions about HDR with industry experts Bram Desmet & Juan Salvo
In this Insight, Dan guides you through key aspects of getting proper skin tone in your grade.
Adding Sunshine In post can be tricky but Dan shares his techniques in DaVinci resolve to turn dull and grey images into warm and sunny!
In the last installment of the 3 part series learn about computer setup, control surfaces, GPU expanders & other key accessories for a suite
Dan shares his thoughts on how to emulate shooting black and white with a red filter on front of the lens to give an interesting look.
Dan shares his attempt at matching the shot on 35mm film warm commercial look of one of his favorite commercials this year.
Its time for the big christmas ads to roll out and more colorist inspiration. Dan share's some of the top work and one of his own.
The main pain when working with LUTs is not knowing exactly what they are doing. Dan shares his technique of LUT Limitation.
We all strive to create the most cinematic looking images possible but sometimes its fun to go for a harsh hyperreal sharp bright look.
When jobs look good you wonder why your own work might not look as good. In this insight Dan shares his thoughts on Lighting The Looks.
Have you ever wondered what it's like to speak to a DP before a job is shot? Dan shares a real world discussion on a tricky job.
Breaking down the color correction for a 'webisode' and creating a 'Film Look'. Plus, ideas for managing film grain.
Sometimes you need to go hard and contrasty with black and white and Dan shares his experience when building a metallic monochrome look
In part 2 of the series, learn about monitor and bias light setup, viewing distance, industry monitoring recommendations, routing & more
Septembers most memorable grades roll in and dan shares the best work he has seen from young colorists including one of his own!
Resolve Color Management (RCM) is powerful workflow tool but using it with Raw footage can be slightly confusing. Learn more in this Insight
Rotoscoping in Resolve is becoming more and more necessary. Dan shares some hints and tips on how he approaches the task.
Team ML gets a lot of questions on who to build a proper grading suite. In this Insight we tackle overall room design, furniture & lighting
DaVinci Resolve provides RAW controls for color correcting raw footage. Here are three rules if you want to use those controls.
Rebooting Your eyes can be tricky after spending hours, days or even weeks on a project. Dan shares how to refresh your eyes for a grade.
Forming a business partnership with someone else can be exciting, but not done right can cause a lot of trouble. Learn more in this Insight.
The question of how to commercials look so good crops up constantly. Dan shares the in and outs of a grading session to show you how
When working with RAW-recorded video in post-production is changing ISO in software the same as doing it in-camera? Click and find out.
Does the Exposure control for a RAW-recorded video file work the same as changing the iris on your camera? This video explores this concept.
File based or software video legalization can be hard. Check out this Insight to see how EyeHeight is making video legalization simple
In this insight Dan gives you a crash course on all the major tool sets that you need to know to start grading in Baselight
A video tutorial, overview and breakdown of the Hawaiki Color and Analyzer color correction filters for Final Cut Pro X.
This is a video overview and breakdown of the FCP X color correction plug-in 'Color Finale'
In this insight Dan shares a Grade Breakdown on a recent commercial to challenge you to use your eyes to notice all his grades
Video games are just as visually stunning as films these days but how to you approach color grading CG footage from one?
Color washes are the most extreme form of grading but can be very rewarding when done well. Dan shows you how he thinks they work best.
Action cameras and other wide angle lens can have some pretty severe lens distortion. Check out this Insight to learn how to remove it.
A couple weeks after NAB 2015, Team Mixing Light breaks down NAB 2015 - the gear & other amazing stuff from the week.
What do you do when a client says keep it natural? Dan shares tips for getting the most out of your image by building an invisible look
In this Insight, learn what RGB Gamut errors are and how to identify them before a broadcaster catches them for you!
In this insight I borrow my Stills Techniques and try and apply them to my video work. The standard is very high and the results are amazing
The world of stills retouching has such an amazing standard. Dan looks at those techniques and will borrow them for the video world
How much time have you spent thinking about your eyes? Dan starts a new series about health issues including eye awareness.
Defining Texture is a great decision to make early on when grading. Do you want it to look glossy and commercial or textured and filmic?
Explore the 6 'slices' of a color correction session and how we manage our time across them. This lets us bid & quote more accurately.
With LUTs so common place in modern color grading sometimes you need to visualize and convert them - Lattice can help!
When working with skin it's quite easy to make it look false and over worked
DSLR Music Video are pretty common and can be incredibly tricky. Dan shares one of his favorite music videos shot on DSLR
Working with Tricky DSLR footage can be frustrating. Dan pulls out some awful clips from his archive and does his best to fix them.
Grading high quality is fun but what happens when you have difficult footage to begin with? Dan takes a look at Damage control when grading
You've landed the grade of your career, what happens next? Dan shares his preparation when a big job arrives for him to grade
Food commercials can be the trickiest of grades as they push your skillset and leave little room for error. Here are some techiniques
How do they make car commercials look so polished and refined? Dan shows you some common techniques used on a car commercial.
In this Insight, learn how powerful shaping skin contrast around someone's face can be to make a shot more dynamic.
When you get into very advanced grading there are even more node operations to worry about. Dan shows you his layout for commercial grading.
Can you make extreme color corrections in LAB color space and export those LAB LUTs from Photoshop and have them work in Davinci Resolve?
Have you ever paused to think of the order that you place your nodes? Dan shares his approach to getting the most out of your image.
Sometimes you just can't make a grade look good no matter what you do! The Colorist Block is real and dangerous but defeatable.
Color temperature allows us to control many factors from time of day to adding to the mood of your image by warming or cooling.
In this From The Mailbag, we cover two GPU questions. Should you upgrade your system or GPU & does GPU debayering for RED footage work?
Its tempting to dive in with many nodes & advanced techniques but spend more time getting your contrast right & you'll love the results
Learn how to match shots in Final Cut Pro X using its unique interface. Part 4 of this series on how to color correct in Final Cut Pro X.
In a world where you can apply 20 nodes to build a look Dan challenges you to rediscover basic grading concepts starting with Saturation
If you've tried to match multiple cameras together using color charts, you've likely found it difficult. What's the problem you're having?
Premiere Pro has a powerful 3-Way Color corrector but by default its tonal range is narrow. Learn how to get better grades by adjusting it.
We take a look at the Best UK Commercials of 2014 in the world of uk color grading.
In this episode of From The Mailbag, the team explores fixing blotchy skin and what goes into a film stock emulation.
Time to take the image into the next level with a fashion look in part two of the series on advanced beauty grading.
Understanding the Final Cut Pro X Exposure Slider is critical to knowing how to color correct in Final Cut Pro X. Click and discover: Why?
Everyone wants to get better at their craft. In this Insight learn about how to overcome 5 common barriers to becoming a better colorist
In Part 5 of our LAB in DaVinci Resolve series, we answer members questions about dealing with saturation in LAB colorspace.
In part two of this series Dan dives into Resolve and tries out the methods first hand. Enjoying the restrictions and relief of grading.
The clarity slider in some Adobe apps is a popular way to add a little pop or punch to a shot. Learn 3 methods for emulating this control.
Have you ever wondered why Christopher Nolan uses color timing instead of a DI for his grades? We take a look at the color timing world
In this installment of From The Mailbag, learn about our 25x25 Holiday Marathon & we each discuss our top 2 color related questions.
The Colorimetry Research CR-100 & CR250 are two of the most affordable and accurate calibration meters on the market. Learn more...
Creating a feature film neo noir look can be tough. Dan shares his look using hardlight blending modes instead of his beloved curves.
The leave color behind look is something every colorist should have in their tool kit. Learn 4 different methods for creating this look.
Building an Infrared Look can give you some beautiful results if you have the right projects and feel adventurous!
Assessing Your Progress can be hard has a colorist. How are my grades better today than a year ago or even 5 years ago? Dan shows you how.
In this video, transfer those Photoshop skills color correcting LAB color in DaVinci Resolve - plus how the tools don't translate directly.
Learning how to color correct in LAB color space with DaVinci Resolve is easier if we start with how the Photoshop experts are doing it.
Commercial Breakdown - Rolo. Dan shares another instalment of his series of behind the scenes insights. We build looks for different eras.
Photoshop pros are learning the power of LAB Colorspace. This is the first of several videos on applying those Insights to moving images.
Footage Quality Control in a modern file based world can be tricky. Dan shares his advice on how and when to reject source material.
Dan shows you how he built a Halloween Slasher Look inspired by classic 80s movies for a recent teaser commercial for Halloween.
We take a look at difficult shape masking and combining multiple windows in DaVinci Resolve to give you total control over difficult images.
Using multiple windows and tracking them into your scene gives you total control of your image and allows you to build powerful looks.
Dan showcases the best of the best in UKMVA's Best Color grading award catagory.
Dan takes a look at his latest commercial grade and shares the thinking and techniques behind the grades.
In this Insight we take a look at doing shot matching with multiple cameras to create a smooth edit. BMPCC, BMCC and Red Scarlet
In this episode of From The MailBag, learn about Resolve 11's new broadcast safe option & how to use LUTs while Grouping.
Resolve Keyframes can be confusing at first but if you follow a few essential rules you'll be keyframing like a pro in no time!
Making people look as good is part of the dayjob for colorists. Working with skintone can be tricky but Dan shares his tips and approach.
Look Up Tables can be complex subject. In this Insight get a colorists perspective on the difference between 1D and 3D LUTs.
Many colorists use log controls as a primary grading tool. In this Insight learn how the log controls can also be used as a secondary.
Essential Skills For Assistant Colorists to help you get the job in a big facility. Being an assistant is hard work but you'll learn so much
Dan breaks down a shot from camera rushes to final look. He shares the good the bad and the ugly grades from starting point to final grade.
Shot Matching - Matching Skies. In this Insight, Dan shows you his techniques for color matching skies between multiple set ups and scenes
New Tools For Resolve 11 Are The Highlights And Shadows Controls. They offer up new creative options for setting the contrast in your scene.
Attended Grading - Starting A Session is the hardest part of the grade. You need to understand what your new clients want from the grade
New to Resolve 11 the softlight blending mode gives you a great new way to add texture and depth to your image.
Introduction To Lab Mode Grading in Resolve 11. This new way of working gives us lots of new creative options when grading.
Grading isn't always about adding to your image. Taking away and controlling colors is just as important when building strong images.
In this insight dan takes you through a journey of setting the time of day in a scene. The flow of the story is key when setting a time.
In this episode of From The Mailbag, we discuss using the Tangent Element In Adobe SpeedGrade & what goes into getting good skin tone.
Have you ever had to build a look that helps put a shot into a certain era? Dan Moran shows you how he approaches the challenge
Learn how to quickly create a blurred or glowing highlights look using DaVinci Resolve
Learn how to quickly create an S-Curve using the Contrast and Pivot controls in Resolve to add more filmic contrast to shots
Adding grain can be hard to manage in Resolve. Dan shows you the easiest way to have grain ready in your colorist toolbox.
Are you having trouble getting bright, happy images that aren't also feeling flat? Learn how I get around this by dropping the midtones.
What is photochemical color timing? What is the role of the cinematographer while color correcting? Learn what three colorists think.
Grading a music video can be challenging from a time perspective. In this Insight learn about Managing A Grade for when time is tight.
Dan takes a look at the offset controls. The oldest and most overlooked primary controls in Resolve. Great for shot balancing.
Reference Images - Matching To A Reference. Have you ever had to match your footage to a famous movie or photo? Dan will show you how.
In Part 3 of our series on the workflow for Commercial color correction projects, we discuss how we handle archiving and restoring jobs.
In Colorist Circuit Training Part 2 we take a look at a sample exercise where Dan assesses his grades to find the best version.
In Colorist Circuit Training Part 1 we take a look at some exercises to help strengthen your style and color grading skills.
Learn how ripple your color corrections through multiple timelines in DaVinci Resolve using the power of the Master Session.
Learn an innovative approach to framing filmed images for multiple aspect ratios. Also - how to view these framings inside DaVinci Resolve.
In this Episode Of From The Mailbag, we discuss the pros and cons of Resolve vs SpeedGrade. As well as how to manage versions in Resolve.
Sometimes clients can have a very different vision of the project than you had.I offer some tips on grading in this situation
Get the most out of your 'Pieces To Camera' (on-camera Stand-Ups) using power windows and curves on footage that needs to look normal.
Feeling uncreative? We've all been there. Keeping your creativity at a high level is something you have to work at. Learn how in 5 steps.
In DaVinci Resolve, video noise reduction targeted to specific color channels lets us balance between sharpness and noise reduction.
Learn how to perform basic online editing tasks in DaVinci Resolve 10. This tutorial looks at compositing, titles and Sapphire plug-ins.
In this color correction tutorial, we explore color correcting FS700 footage in our Fake Film Trailer. We'll also use Sapphire plug-ins for DaVinci Resolve.
In this installment of the Fake Film Trailer, I start color correcting Red Dragon footage. It's my first time working with this camera.
It's easy to get lost in the weeds when color correcting. Learn a Color Correction Time Management technique that keeps you from missing deadlines!
We're going to use DaVinci Resolve key frames with animating Power Windows—dialing up the tension and creating the feeling of alien ships flying over head.
If you're confused on how to color correct using LUTs, this video (one in a series) shows several different approaches for you to try.
Three professional colorists discuss how to emulate LightRoom's Clarity Slider in DaVinci Resolve. Plus, where color correction fits in VFX workflows.
Learn how to split color channels into RGB, YUV or LAB with the Splitter Combiner nodes in DaVinci Resolve. Watch me put them to work.
You can use the Overlay blending mode to add grain and get great colour and contrast pop, with the click of a button. Watch me put it to use.
I like to work with background plates in Resolve. This allows me to color correct my product or actor in place, allowing creative choices. Watch me work.
Creating a Black and White Look seems like an easy prospect, initially. But they can be some of the most difficult jobs. Learn how to execute this Look.
Has a client ever asked you to create a 'Film Look'? Yes, us too. In this video, learn how we get to this Look using some new features in DaVinci Resolve.
Sometimes when you're color correcting you need to give the job an extra wow factor. My favorite technique at the moment is tinting the shadows. Learn how.
We answer two questions: Solving a problem with keying and windowing the moon on a black background + explaining technical terms to co-workers.
'Secondary corrections' are isolations to areas of an image to make specific color corrections. Here are tips on getting quick results.
Have you ever been asked to color match a shot to a reference image for their video? Here are a few ideas on how to do that in DaVinci Resolve.
You will learn two ways to use the Key Mixer Node: How to set it up as a master control for multiple masks; and how to build garbage masks for cleaner keys.
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.
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.
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.
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.
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?
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?
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.
Do you have burning questions about color correcting music videos? Professional colorist Dan Moran, CSI is here to give you his answers.
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.
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.
When color correcting, learn how to split your image into separate brightness and color channels for creative reasons (and additional technical benefits).
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.
Have you ever needed to improve how an actor 'looks' in a video? Learn the basics of how the pros do it in this Beauty Grading 101 video.
How do you simulate depth of field in video? This is the first in a series of tutorials on helping your images feel more 'filmic'.
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