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How to Set Up And Use DaVinci Resolve's Remote Monitor App
Two colorists show how to set up the DaVinci Remote Monitor app to share your Color Page Viewer with remote clients during a grading session.
Using SMPTE Bars to Color Manage Archival Materials
Daria Fissoun teaches you how to calibrate color bars on videotape archives, using DaVinci Resolve, to ensure accurate color reproduction.
Matt McFarland: A Filmic Time Traveller And ‘Forensic Colorist’
Learn how veteran colorist Matt McFarland restores old print masters to modern formats - with his deep mix of grading skills and experience.
Demystifying Colour Spaces, Transfer Functions, Colour Standards
Filmlight engineer Daniele Siragusano unpacks the foundations of colour science and how these concepts define essential industry workflows.
ARRI LUTs, Linux Resolve, Broadcast Safe, & Monitoring LUTs
Mixing Light's team answer: What's the correct ARRI LUT? Building a Linux Resolve system. Is Broadcast Safe obsolete? And monitoring LUTs.
From Concept to Screen: Virtual Production in Film and Television
VFX Sup Bryn Morrow shares practical insights into film and TV volume production, from previz to final grading and the image pipeline.
Control Your Mastering White Point To Control Your Highlights
Learn how to use white points in color management and how to choose them creatively, in this interview with FilmLight's Daniele Siragusano.
The Career Lessons Learned Of Senior Colourist Ferg Rotherham
Senior Colorist Ferg Rotherham shares wisdom learned from his mentors and cinematographers, freelancing, and how to surprise your clients.
Color Management With Log, The Elusive "Filmic" Look, & Clients
Mixing Light's panel of Colorists answers questions on color management with log footage, the "filmic" look, and choosing your clients.
A Career Empowering Colorists: Talking with Peter Postma
Peter Postma of FilmLight shares his involvement in creating foundational color grading tools and standards at Kodak and FilmLight.
Fusion Monitoring Part 3: Accurately Viewing On External Displays
How do you *accurately* monitor a color-managed image from Fusion on your external monitor? Colorist Daria Fissoun teaches the workflow.
What's The Role of VFX Colorist? With Christian Ganea Reitmeier
What does a VFX Colorist do? Christian Ganea shares his views and workflows on some of Hollywood's biggest movies & shows at DNEG.
Accurately Viewing Fusion Compositions in ACES Workflows
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
Fusion Monitoring: Accurately Monitoring DaVinci Wide Gamut
Does saturation on Resolve's Fusion look wrong when working color-managed? Colorist Daria Fissoun breaks it down and offers three fixes.
15 minutes with Color Scientist Matthew Tomlinson
The Color Timer podcast discovers what a color scientist actually does, why they are a colorist's best friend and how to shepherd a show look.
Office Hours LIVE! Color pipelines, Gamma & Remote Live-Review
Our Contributors answer tough member questions on color management issues, mastering gamma, and affordable remote live review solutions.
Creatively Manipulating Node-Based ColorSpace and Gamma Tags
Learn colorist Cullen Kelly’s favorite uses for node-based Color Space and Gamma context menus available within individual nodes in Resolve.
Office Hours LIVE! Color Management, HDR, & Cinema Grading
Four Mixing Light Contributors help one of our members solidify their color management settings & workflows for HDR and cinema color grading.
Is The Mini Control Surface 'Breaking' HDR Palette Operations?
Learn how the Blackmagic Mini control surface is giving you the 'wrong' results on the HDR Palette if your not paying VERY close attention.
Learn How To Build Your Custom Film Print ODT
Cullen Kelly shows you how to build a custom transform by combining a film print LUT with basic color science - to add style to images.
How To Install And Evaluate The Upcoming ACES 2.0 ODT
Cullen Kelly shows how you can explore the candidate ACES 2.0 output transforms. Learn the differences compared to the current ACES release.
How To Upgrade Your GoPro Hero11 To A 10-bit Log Workflow
Learn to leverage GoPro labs firmware and Resolve colorspace transforms to color manage footage from the new Hero 11 cameras in 10 bit log.
Substituting ACES ADX for Cineon Film Log With Film Looks LUTs
Explore how to get better results from Resolve’s Film Looks LUTs by leveraging the ACES ADX standard — even if you're not grading in ACES!
Comparing ARRI’s LogC4 LUTs To Resolve Color Management
Learn to customize the built-in color management workflow of Resolve with quality external LUTs. This series begins with ARRI's LogC4 LUT.
Color Grading Docs, HDR Trims, NVMe Disks for Cache, and more!
In this Office Hours, a team of Mixing Light Contributors tackles member questions about estimating time for HDR trim passes - and much more!
Using Color Grading To Tell A Decades-Long Story
Colorist Joey D'Anna breaks down his color grade of an indie feature - showing how he executed the goals & technical challenges of this film.
Flexing Fundamentals: The Hidden Power of the Offset Wheel
In a new series on Primary color corrections, Cullen Kelly explores the hidden strength of the Offset Wheel - when working color-managed.
Charting Gamma Curves, REC-709a, Premiere 2022 Color Management
Team Mixing Light, and members, discuss Log Gamma curves, revisit Rec-709a, Premiere Pro 2022's color management, and declining job offers.
Film Print Emulation: Paul Dore’s ACES DCTL Look Modification Transform
In Part 3, learn how to go beyond LUTs for an artistic approach to emulating film print looks using Paul Dore's DCTL in an ACES workflow.
Film Print Emulation: Breaking Down PixelTools 'Film Lab PowerGrades'
Continue developing your critical eye for evaluating Film Print Emulations (FPEs) by breaking down Pixel Tools Post's 'Film Lab PowerGrades'.
Color Management For Preconformed Workflows With EDL Clip Names
Using Resolve's Edit Index and EDL comments, you can prepare a preconformed timeline for color management much easier than you think.
Why Are Film Print Emulation LUTs Special (and how to use them)?
In this new series, build the foundation to evaluate & implement ANY Film Print Emulation (FPE) - with the Kodak 2382 film stock as baseline.
Creating And Evaluating PowerGrade Tools - Tips and Tricks
Colorist Jason Bowdach teaches you his approach to developing and evaluating technical PowerGrades (and how it helps your creative grading).
DaVinci Resolve 17.4.5 - Custom YRGB Output Color Spaces
Colorist Joey D’Anna explains why the new Output color space setting in DaVinci YRGB projects is a great tool for node based color management.
Understanding Baselight Student's Colour Management Framework
In Part 8 of our series, learn the three colour space options that are essential to correctly colour grading in Baselight Student.
Colourlab Ai - Working In A Color Managed Workflow
In Part 3 of this series, Jason Bowdach demonstrates how to use Colourlab Ai in a color-managed workflow in Resolve and shows new features.
Office Hours LIVE! - ACES Color Management Using Nodes (in Resolve)
Join colorist Joey D'Anna as he answers node-based color management strategies for ACES and RCM workflows (including groups and shared nodes).
Office Hours Live Stream - Color Management (and much more)
This is our first Office Hours Livestream. Four Mixing Light Contributors take and answer questions from members in a livestream.
Custom ACES SDR to HDR Part 3 - Dolby Vision Trims
Learn how to use the original SDR color grade as a reference for a new SDR Dolby Vision trim from an HDR re-master (gulp!)!
SDR To HDR - Working With Graphics In Node-Level Color Management
In part two of his series, Colorist Joey D'Anna shows you how to color manage graphics when trimming a project from SDR up to HDR.
Custom ACES: SDR To HDR - Part 1
In this Insight, Colorist Joey D’Anna shows you how to move an SDR grade into HDR using a Custom ACES fixed node structure.
Binary Logic In The Node Tree: Creating Procedural Node Structures
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.
Working Around the ACES ‘Look’ With OpenDRT
ACES is an extremely popular color management pipeline but its RRT can impose a ‘look’. In this Insight learn about OpenDRT & how to implement it.
Creating Reusable Custom Transition Presets In Fusion
Learn to use DaVinci Resolve's Fusion page to build custom, reusable transitions to work inside a node based ACES pipeline.
Look Development Part 3: Sweetening The Color Palette
In the last installment of his series on the essentials of look development, Cullen Kelly guides you through the concept of preferential color mapping.
Color Grading Challenge – Tri-X Style Black & White
Dan briefs you on a Black & White Tri-X look. If you grade to his brief and post in the comments, he'll play 'client' and offer feedback.
Color Management The 'Right' Way?
In this episode, we discuss if project-wide or more custom approaches to color management are the 'right' way to do things.
Look Development Part 2: Dialing In The Contrast Curve
In Part 2 of his series, Cullen Kelly takes a look at dialing in the contrast curve for a look with the new HDR Zone tool in Davinci Resolve 17.
Mailbag LIVE! About That ACES Workflow??
Today's Agenda: Is it just me or does the ACES color management system feel like it's limiting my creative choices?
Custom ACES Part 4: Updating For Resolve 17
Watch colorist Joey D'Anna update his custom ACES workflow to better use the new HDR tool in Resolve 17, and use DaVinci Wide Gamut colorspace
Look Development: Part 1
Learn how to establish good color management and clear definitions for your look development workflow.
A Mixing Light Special Report: Resolve 17 Announcement
Blackmagic Design just announced Resolve 17. We jump on a call to discuss the release, its timing, new features, and our initial thoughts.
ACES 201 - Node-based Grading, Sharing Looks to On-Set and VFX
In this webinar, learn an alternative approach to color grading ACES projects in DaVinci Resolve plus collaborating with others in ACES.
Custom ACES Part 3: ODTs, Deliverables and HDR
Learn how to use a custom ACES workflow to easily manage deliverables in different color spaces, and easily take your grade from SDR to HDR.
Custom ACES Part 2: Grading Custom ACES With Fixed Node Structures
Learn how to build a powerful fixed node structure in DaVinci Resolve to work within a valid ACES pipeline, without normal limitations.
Custom ACES Part 1: Building An ACES Workflow In A Resolve Node Tree
Learn how to leverage a powerful ACES workflow without any limitations, by customizing it a DaVinci Resolve node tree.
ACES and DaVinci Resolve 101 Webinar - Understanding the Workflow
Are you confused about what is ACES? What is it used for? How do you use and implement ACES within DaVinci Resolve? This webinar is for you.
Revisiting RCM, ACES & CST Workflow
In this installment of From The Mailbag, a member's question about using the CST OFX within a color-managed project got us into revisiting these workflows
Grading Challenge – Modern Sci-Fi Brief
Dan plays client and dishes out a grade brief for a Modern Sci-Fi film that he'd like you to execute. Remember there are no wrong looks!
The Color Mangled Workflow: Modifying Look-Up Tables For Better Results
Do you struggle getting a good starting point while using Look-Up Tables (LUTs)? This idea may make things easier (in Davinci Resolve).
Understanding the Future of Color Grading - Part 4
The film and television production and distribution pipeline is quickly evolving to support wide color gamuts. What's pushing this change?
ACES in Action Part 2 - Breaking Down the Imaging Pipeline
In Part 2 of this Series, learn the details of an indie film navigating ACES between DaVinci Resolve, Premiere Pro, and After Effects.
ACES Color Correction in Action: An Indie Case Study Part 1
The ACES color management workflow is a key technology for major Hollywood productions. Learn how an Indie film implemented ACES.
Using DCTLs And Expanding Resolve's Functionality
Do you perform repetitive tasks on a regular basis when color correcting or finishing? Then learn how to use DCTLs to automate those tasks!
Should I Standardize Every Project Using A Color Management System?
We discuss if professional colorists should be standardizing every project around color management systems like RCM & ACES?
Colorist Podcast EP 021:Shane Mario Ruggieri
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!
Colorist Podcast EP 020: Ian Vertovec
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!
The Challenges (And Lessons Learned) Of Color Restoring Classic Films
The color restoration of classic films is one of the few 'Dark Arts' of digital color correction. Colorist Jim Wicks shares his challenges - and lessons learned - from this unforgiving niche of the craft of color grading.
Colorist Podcast Episode 019: 2017 Year In Review
In the last installment for 2017, the Colorist Podcast looks back at some key moments from the series this year with a year in review highlights episode
Colorist Podcast Episode 18: Patrick Woodard
In this installment, Josh talks to Digital Film Tree lead colorist Patrick Woodard about color correcting high-end TV, remote sessions, ACES and more!
Colorist Podcast Episode 16: Alexis Van Hurkman Part 2
In this episode, Josh continues his conversation with director, author and colorist Alexis Van Hurkman. they talk HDR, ACES and more!
Choosing Between ACES Or RCM? Plus, Control Surface Sensitivity.
The Team fields a member question about how we set up the sensitivity of our colorist control surfaces? How do we decide?
Colorist Podcast Episode 014: Juan Ignacio Cabrera, CSI
in this installment of the Colorist Podcast, Josh talk to colorist Juan Ignacio Cabrera about his work on cutting edge projects & many other subjects.
Is Your ARRI Alexa Mini Color Pipeline Properly Set in ACES?
The ARRI Alexa Mini is a great camera - and it color corrects beautifully in ACES. Learn how to confirm your color pipeline (in DaVinci Resolve).
Dan's Month In ACES
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.
Colorist Inspiration - ACES In May
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!
Colorist Podcast Episode 09
In this episode of the colorist podcast, Josh talks to Technicolor senior colorist Peter Doyle about his amazing career & many other subjects
How To Use DaVinci Resolve's Color Match In An ACES Pipeline
DaVinci Resolve's 'Color Match' function is simple but can be confusing. Learn how to properly set up Color Match in ACES workflows.
Colorist Podcast Episode 08
In this episode of the colorist podcast, Josh talks to industry veteran/legend Dale Grahn about his storied career & many other subjects
Getting To Know ACES Part 4: The Latest In ACES Updates
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.
Getting To Know ACES Part 3: Visual Effects Workflows
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.
Getting To Know ACES Part 2: More Terms & Resolve Setup
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.
Getting To Know ACES Part 1: Introduction
ACES (Academy Color Encoding Specification) is a professional color management system used by productions of all types. In Part 1, you learn about the problem it solves and basic terminology.
Colorist Podcast: Episode 3
In Episode 3 of the Colorist Podcast Josh talks to well-known finishing artist & colorist Gray Marshall from Technicolor L.A. about his work.