Colorist Cullen Kelly teaches you to create a subtractive color balance tool for more pleasing color washes & looks in DaVinci Resolve.
Images in Fusion can look different to the Edit and Color pages when color management systems clash. Here's how to fix that in ACES workflows
Mixing Light's professional colorists answer questions on graphic white points in HDR, crafting meaty saturation and the limitations of AI.
What does an award-winning tattoo artist have to say about color? Special guest Jhon Gutti talks about shades of gray in his craft and art.
Learn how to dramatically improve your Hue vs. Hue adjustments in DaVinci Resolve by changing a node's color model - and why this works.
Colorist Cullen Kelly explores his favorite uses of the Sat vs Lum curve in Resolve and best practices for consistently great results.
Colourist Luke Ross is back with Part 18 of his 'Learning Baselight Look' series. Learn how to fix oversaturated and out-of-gamut colours.
In Part 2, Igor Ridanovic leverages the stabilization work of the new Surface Tracker plugin to execute beauty work on the Fusion page.
In Part 3 of Hector Berrebi's 'Texture Management' series, learn what blur is doing to your images and build an Unsharp Mask using nodes.
Are you adding RGB artifacts into images when sharpening? How is Midtone Detail different (in DaVinci Resolve)? Plus, sharpening in LAB space.
In the start of a new series, colorist & educator Hector Berrebi defines the terms and tools of the important concept: Texture Management.
In Part 5 of our 'Visual Math' series, learn how 'vs. Curves' work from within Resolve's node graph by building your own in HSL space.
Learn how to extract the hue and/or saturation shifts of a 3D LUT, without getting stuck with the LUT's accompanying contrast adjustment.
Colorist Jason Bowdach teaches you his approach to developing and evaluating technical PowerGrades (and how it helps your creative grading).
'Subtractive saturation' is a hot topic with colorists. Learn how to manually build this tool in DaVinci Resolve for more natural results.
This series returns with stories on Netflix recommended displays; being a better colorist; color harmonies; and note-taking.
We've all seen the 1931 CIE RGB Chromaticity Chart but do you understand its importance to film and video? How does it map to human vision?
What does binary logic have to do with color grading? Colorist Joey D'Anna shows you how to build switches and logic into your Resolve node structure.
In part 3 of this ongoing series, with foundational knowledge in place, start coding your first DCTL a colorist Cullen Kelly guides you step by step.
In Part 2 of his series on coding DCTLs, Cullen Kelly covers some additional setup and tools you'll need to successfully build DCTLs
Help us celebrate the 160th Anniversary of the color photograph, its history, and the RGB color model! Presented by colorist Hector Berrebi.
In this installment of Good Grades we sit down with Sr. Managing Colorist at NFL Films, Chris Pepperman.
In this installment of Good Grades we sit down with renowned documentary colorist Evan Anthony and talk about his start, work and more!
In Part 3 of this series, learn how the color grading controls work differently with RCM 2 enabled. Plus, contrast control in the HDR Palette.
A member asked for some advice on matching two shots that had distinctly different looks. In this Mailbag, we discuss strategies for matching these shots.
In this installment of From The Mailbag we sit down to talk about tone mapping and how's used in software and on consumer displays.
In this installment of The 10-Minute Grade, Cullen Kelly walks you thru a few different techniques to quickly get shots balanced when time is of the essence
Do your images need to look more colorful? In this Insight, learn 3 color separation tools for increasing perceptual colorfulness.
In this new series, Dan's grading the short film 'Origins' (using Baselight). It's got VFX, ACES, multiple deliverables (and light sabers).
Learn two different methods (with different levels of control) of emualting the beauty of film halation using DaVinci Resolve.
Learn how to use DaVinci Resolve to finish and output coutless versions of broadcast promos, easy fast and without any mistakes.
Dan answers some comments from members about why he adds his grain to the image at the very beginning of his node graph
Dan cracks open another project fresh from the grading suite. In this part we take a look at the Spectachrome brief & project organisation.
Learn how various Saturation controls in DaVinci Resolve are identical to each other. Plus, understanding saturation-related hue shifts.
We continue deconstructing Resolve's Color Boost controls, offer an alternative definition, and demonstrate how it differs from Saturation.
It's not always clear how Resolve's 'Color Boost' tool works differently than its 'Saturation' tool. This video breaks down the differences.
Dan shares his breakdown of cleaning up a bike frame using the color compressor and node resizing in Resolve
Dan shares his thoughts behind his solution to removing a reflection using Resolve's Color Page - on a 16mm shot with moving grain structure.
What's harder than faking a VHS-look from a high-end camera? Intercutting that look with actual crummy VHS. Learn one way to do it.
Every year Dan looks back at the previous year and shares his greatest successes. This year, he focuses on his most memorable jobs.
Learn how to avoid two problems when color correcting using Premerie Pro's Lumetri workflow. It's all about recovering clipped detail.
Dan wraps up his behind the curtain series with a watch through and matching pass on the whole video to make sure it flows as a whole film
Dan shares his story from a recent "not so near-set grade" for an upcoming collaboration with friends on a short film.
Dan is back in part three of his unfiltered look at a recent grade. In this part we take a look at matching the externals in this 16mm style
Dan picks up where he left off in this series on real time grading a music video. In part 2 we look at the noisy internal scene.
Do all saturation controls behave similarly? Or are there subtle differences that add new arrows in your quiver of saturation controls?
Dan shares his thoughts on trying to clean up his grades in 2019 and moving away from his favourite film emulation techniques.
In this Insight, Dan shares his approach to creating a classic 16mm Film Emulation that he used on a recent music video.
Finding the right balance of noticable and realistic is always a challenge. Dan shares behind the curtain on a film release print style grade.
Dan shares his technique of using the multiply blending mode to recover highlights easily and naturally via a layer node.
In part 3 of our ongoing Dolby Vision series, learn about big changes to Dolby Vision & Resolve in 2018, plus new tools & workflows.
Dan shares his 90s video review and his attempt at going bold, bright soft and crushed in this grading challenge.
The 5 'pillars' of the digital video revolution evolve at a different paces - but are driven by the same force. We covers two more pillars.
Team Mixing Light is once again joined by Joey D'Anna to discuss integrating graphics and text into Dobly Vision HDR projects.
Dan kicks off a new grading challenge where he plays your client. It's based on a 90s pop video style color grade he recently recreated.
Drone footage is a very common occurance on timelines these days. Dan shares his techniques for adding depth to the footage.
Sometimes we are gifted with better sun than other times. In this Insight Dan shares his experience on a job shot over multiple months.
In this Insight, Dan shares his experience in developing a look to back up the lyrics and narrative in a music video by his favourite band.
Exposure shifts creep up in projects regularly. With the right node structure and correct technique you can easily fix these in seconds.
Dan shares a tale of things going a bit wrong on a live concert grade w/ high powered LED lights and how moving over to ACES solved things.
The only person that is going to inspire you is yourself. A Look Library surrounds you with inspiration keeping you motivated and current.
Now that DaVinci Resolve is gaining tools by the month, Dan takes a look at managing the node graph to keep things organised and flexible - with the goal of allowing for quick changes.
We discuss the best advice we've received for our color grading careers. From attitude to technical to creative, we share what's worked.
It's been a little over a month since NAB 2018. We discuss what we saw including Resolve 15, new HDR monitoring, control surfaces and more.
Look-Up Tables (LUTs) are black boxes that make it difficult to know what precisely they're doing to your image. Colorist Jason Bowdach shows you how to stress test and evaluate your LUTs.
We've got lots of questions from members asking how to get started as a professional colorist and how has grading changed over the years?
Sometimes even offering the smallest level of beauty work for a client can go a long way. Learn quick skin-smoothing / eyebag-reducing tips .
In this installment of the Color Correction Gear Head series, Robbie takes a look at the 2018 LG OLEDs (C8), the HD Fury Integral 4k, Aja 1616 12G Router, OWC Mercury HeliosFX and remote control application Splashtop.
Beauty work and re-touching can be a great additional source of income as a freelance colourist. Dan shares his thoughts and kicks off a new series on getting involved in retouching.
In this Insight, colorist Joey D'Anna, fresh off demoing Resolve 15 at the Blackmagic booth at NAB 2018, shares his thoughts on the top new features that benefit the dedicated colorist the most in Resolve 15.
Can you prebuild a perfect node structure and use it to speed up your grading? Dan is taking a deep dive to find out how well it works, and if it's a genius idea or a total waste of time.
In the last couple of years there has been a shift away from teal and orange to teal and yellow. Dan investigates that transition and looks at his own grades. He also asks do you miss teal and orange?
In this insight, we take a look at the final pass on the bread short film. Dan looks at his matching with fresh eyes, checks his black and white levels and decides on the sharpening and grain levels of the film.
A member asks about grading on a direct view monitor vs. the cinema. We discuss the differences and why overcomplicating it is a bad idea!
In this installment of the Colorist Podcast, Josh sits down with colorist, trainer and industry visionary Dado Valentic to discuss his much talked about presentation on color grading and AI, HDR workflow, on tools for colorists and more!
In part two of grading the bread short film, Dan dives into the matching side of things. Although it's the least glamorous part of grading it's also the most important.
Team Mixing Light discusses strategies for moving Resolve PowerGrades, PowerBins & project configurations between databases.
Dan Moran recently joined the freelance world. He's curious how Pat and Robbie handle a client who rejects a grade - fix it or charge more?
In this video, you learn techniques for color correcting log encoded white cyc footage. Plus get several solutions for fixing common problems with these types of shoots and why, many times, your corrections are a compromise.
If you want to calibrate your reference display through your main non-linear editing software then you want to use calibration test patterns playing through a timeline. Learn how to be sure you don't have Data- and Video- level mismatches.
Dan returns to his Behind The Curtain series with a real-time insight that shows his approaches to this commercial grade. He covers primaries, look theory, shot matching and Look refinement.
One of our members asks about backing up Resolve databases and computers. This is an essential skill for colorists, listen to how we do it.
In this episode, Josh talks to Shane Mario Ruggieri, C.S.I. from Dolby. Learn about HDR from the colorists perspective, Dolby Vision, HDR 10, grading HDR and SDR and more! If you're interested in HDR this episode is a must listen!
The Team discusses the pros/cons of 4k monitoring. We explore new offerings from Flanders Scientific including the XM650U and XM310K.
In our reference display calibration series we've been using a specific set of calibration test images. But two test images (used to precalibrate our Contrast and Brightness settings) generate a lot of confusion. Get unconfused in this Insight.
A member asks a question about working in Full Range but delivering a video rendered to legal/broadcast levels. We work through the thinking.
Dan shares the tale of his attempt at grading long-form reality television after spending 10 years being a pampered commercial colorist.
Dan shares his assessment of how to get the feel of the footage before you speak to the director. It helps when you can be upfront about what is and isn't possible.
In this CalMAN Studio series you've learned how to calibrate a video reference display using Look Up Tables (LUTs). Not every display supports internal LUTs. If you don't have (or want) an external LUT box then what do you do then? Watch and learn.
Team Mixing Light answers a member question about using the Judd Modification for an OLED reference monitor. What is it? When to use it?
Do you want to cram a ton of productivity into your life? Get insight into how to do that from a highly productive post professional.Get tips and strategies to maximize your down time or add something to your life you never had time for.
QC and media inspection are an essential part of 'finishing' process. In this Insight, Robbie shares his experience with Telestream Switch which is a full featured media player, inspector and QC tool.
Dan is excited to launch a new series on Mixing Light that will feature a briefing from the real director of the project. In this intro Insight, download some RED 8k footage to attempt a grade before getting creative brief from the client.
In the first installment of the Colorist Podcast for 2018, Josh sits down with well-known colorist Ian Vertovec from Light Iron. They discuss Ian's work, ACES, HDR, VFX workflow and much more!
Building on Robbie's recent articles, Pat and Dan ask questions about workflow and Robbie's recent trip to Dolby in Burbank, CA.
Dan shares a tale from the grading room of a film emulation gone wrong and how by missing the mistake was destined to fail in the grade with his clients.
When you have complex node trees, rolling it into a show LUT can make your life. Learn how to build your own LUT for your project.
In part 2 of our Dolby Vision series you learn more about suite setup. Then you dive into using the Dolby Vision trim controls (in DaVinci Resolve) for Standard Dynamic Range TVs. Plus, Dolby Vision 'mezzanine' file creation.
The Elgato Stream Deck is a powerful control surface add-on for colorists, especially when paired with autohotkey. In this insight, learn to take that functionality to the next level with advanced scripts and workflow examples.
Colorist Dan Moran spends the first day of January 2018 looking back on his best work from 2017. Picking his favourite commercials, music videos and long form narrative projects and also sharing the stories behind when he enjoyed them so much.
Being able to offer Basic Cleanup in the grade is a great ability. It saves moving to and from a compositing application and helps finish off that job.
Sometimes a shot is so basic that a little VFX knowledge goes a long way. In this insight Dan shares his real world rotoscoping example
VFX colorspace issues are the last thing you need when you are on a tight deadline. Dan shares his experience solving issues like these.
In a new series Dan shares a look behind the curtain at a real world grading project. From quoting to delivery he dives deep on his process.
Most of us are more comfortable using the same software all the time but why limit your opportunities? Dan shares his tips on learning a new software.
Dan shares his thoughts about the UKMVA nominations 2017 for best music video color grading award and asks you to predict the winner
Dan critiques your beauty grading entries and shares his attempt. The challenge was quite advanced and the results are great. Dan's DRX is also downloadable
Dan shares his inspiration for this month by checking out the nominations for Outstanding Color Grading at the HPA awards
Coloring long form projects with very quick turn arounds can be very challenging. In this article, learn techniques for surviving & finishing big projects
In this episode, Josh continues his conversation with director, author and colorist Alexis Van Hurkman. they talk HDR, ACES and more!
Beauty grading is a discipline all on its own. Dan shares a typical client brief and will offer stages of feedback like a real world client
When is it ok to "sell myself short"? Katie Hinsen suggests taking a more holistic approach to value when considering an opportunity, job or client.
In this insight Dan is reviewing your efforts on his car brief and also sharing his attempt at the shot to show his approach to the grade.
An old school technique that is still regularly used today in commercials. Having a break between grading the same footage has huge advantages.
In this installment of the Colorist Podcast Josh talks to well known author, director, and colorist Alexis Van Hurkman about a wide variety of color topics
In a new series Dan shares his guide to training your eye for contrast issues. Follow this four step process to learn how to diagnose and fix your images
RED's new IPP2 processing pipeline has a lot to offer, in this Insight, we explore the new pipeline setup in RedCineX & DaVinci Resolve 14
Dan is turning 30 and shares his work from across the years to show how his grading has evolved and improved year after year
In DaVinci Resolve 14, the Stabilizer got a new set of controls that seem overly simple. Has this tool been upgraded? Or should you work in Classic mode?
Dan shares his new approach to Assessing Tonal Range and the initial grading moves by asking. Are you trying to make it look better or different?
in this installment of the Colorist Podcast, Josh talk to colorist Juan Ignacio Cabrera about his work on cutting edge projects & many other subjects.
Some jobs just call for the grade to be turned up to 11. A fun way to do this is by blending multiple LUTs together and enjoying the happy accidents!
Dust Busting in one of those tools you don't know exists in Resolve. Dan shares his tips on how and when to use it in the grade
The Team discusses our new Resolve 14 New Features title as well as DaVinci Resolve Remote Rendering with guest Joey D'Anna.
Dan shares the behind the scenes thoughts that go into such a stylised 70s era music video for Lucy Rose. 80% in camera and 20% in the grade
In this installment of the Colorist Podcast, Josh is joined by colorist Vanessa Taylor. From balancing tech & art, grading HDR this is a great listen!
Dan spent a month in ACES getting to know the new way of grading. In this insight he shares his thoughts on the good the bad and the ugly of ACES.
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
If a client asks for a sky replacement; as a colourist, should you? If so, how? Plus a tip on where to start when evaluating a sequence.
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.
Continuing our introductory series on ACES, you learn about the latest updates to ACES, including a working color space added to the ACES 1.03 specficiation: ACEScct. Plus, how it effects DaVinci Resolve colorists.
A member asks how they can easily sync Resolve's LUT folder between suites. Plus, 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
Our Getting To Know ACES series continues, looking at the essentials of using ACES for VFX roundtrips with DaVinci Resolve. You learn how to move images between VFX and color grading within the ACES color science.
Start digging deeper into ACES terms and acronyms that will have you sounding like a pro. And you learn how to set up ACES 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 brightness, saturation, and sharpness limits 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 your reference 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.
Some projects call out for extreme warmth to help back up the story. Learn methods to get an extremely warm feel that looks real.
Get an inside look on methods and techniques a professional digital video colorist uses on a short-form fashion commercial.
'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.
Learn how Dan uses reference images to create his Looks - and download the sampe footage to try your hand and practice your skills.
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…
Another April, another version of DaVinci Resolve! In this Insight, Robbie shares his top new features of this exciting release.
The Team answers a member's question about sharpening quick focus pulls. Plus they discuss 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
It's a busy day for Team Mixing Light as we discuss our NAB 2016 plans, log style color grading and handling 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 as a commercial case study in shot matching - from pristine stock footage to constantly changing clouds.
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.
There is a time in every colorist’s life when we need to add some retro 70s TV vibes to footage! This insight is based on both creating a parody of…
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.
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 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. Featuring: BMPCC, BMCC and Red Scarlet cameras.
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 skin tone 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? Learn how to approach this challenge - and download a 6K RED Dragon shot to give it a shot and share with us.
Learn how to quickly create a blurred or glowing highlights look using DaVinci Resolve
Adding grain can be hard to manage in Resolve but handy to have in your 'toolbox'. Dan shows you a simple way to add grain, without a plugin.
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.