Learn to leverage GoPro labs firmware and Resolve colorspace transforms to color manage footage from the new Hero 11 cameras in 10 bit log.
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!
Learn to customize the built-in color management workflow of Resolve with quality external LUTs. This series begins with ARRI's LogC4 LUT.
In this Office Hours, a team of Mixing Light Contributors tackles member questions about estimating time for HDR trim passes - and much more!
Colorist Joey D'Anna breaks down his color grade of an indie feature - showing how he executed the goals & technical challenges of this film.
In a new series on Primary color corrections, Cullen Kelly explores the hidden strength of the Offset Wheel - when working color-managed.
Team Mixing Light, and members, discuss Log Gamma curves, revisit Rec-709a, Premiere Pro 2022's color management, and declining job offers.
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.
Continue developing your critical eye for evaluating Film Print Emulations (FPEs) by breaking down Pixel Tools Post's 'Film Lab PowerGrades'.
Using Resolve's Edit Index and EDL comments, you can prepare a preconformed timeline for color management much easier than you think.
In this new series, build the foundation to evaluate & implement ANY Film Print Emulation (FPE) - with the Kodak 2382 film stock as baseline.
Colorist Jason Bowdach teaches you his approach to developing and evaluating technical PowerGrades (and how it helps your creative grading).
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.
In Part 8 of our series, learn the three colour space options that are essential to correctly colour grading in Baselight Student.
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.
Join colorist Joey D'Anna as he answers node-based color management strategies for ACES and RCM workflows (including groups and shared nodes).
This is our first Office Hours Livestream. Four Mixing Light Contributors take and answer questions from members in a livestream.
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!)!
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.
In this Insight, Colorist Joey D’Anna shows you how to move an SDR grade into HDR using a Custom ACES fixed node structure.
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.
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.
Learn to use DaVinci Resolve's Fusion page to build custom, reusable transitions to work inside a node based ACES pipeline.
In the last installment of his series on the essentials of look development, Cullen Kelly guides you through the concept of preferential color mapping.
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.
In this episode, we discuss if project-wide or more custom approaches to color management are the 'right' way to do things.
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.
Today's Agenda: Is it just me or does the ACES color management system feel like it's limiting my creative choices?
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
Learn how to establish good color management and clear definitions for your look development workflow.
Blackmagic Design just announced Resolve 17. We jump on a call to discuss the release, its timing, new features, and our initial thoughts.
In this webinar, learn an alternative approach to color grading ACES projects in DaVinci Resolve plus collaborating with others in ACES.
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.
Learn how to build a powerful fixed node structure in DaVinci Resolve to work within a valid ACES pipeline, without normal limitations.
Learn how to leverage a powerful ACES workflow without any limitations, by customizing it a DaVinci Resolve node tree.
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.
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
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!
Do you struggle getting a good starting point while using Look-Up Tables (LUTs)? This idea may make things easier (in Davinci Resolve).
The film and television production and distribution pipeline is quickly evolving to support wide color gamuts. What's pushing this change?
In Part 2 of this Series, learn the details of an indie film navigating ACES between DaVinci Resolve, Premiere Pro, and After Effects.
The ACES color management workflow is a key technology for major Hollywood productions. Learn how an Indie film implemented ACES.
Do you perform repetitive tasks on a regular basis when color correcting or finishing? Then learn how to use DCTLs to automate those tasks!
We discuss if professional colorists should be standardizing every project around color management systems like RCM & ACES?
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!
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 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.
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
In this installment, Josh talks to Digital Film Tree lead colorist Patrick Woodard about color correcting high-end TV, remote sessions, ACES and more!
In this episode, Josh continues his conversation with director, author and colorist Alexis Van Hurkman. they talk HDR, ACES and more!
The Team fields a member question about how we set up the sensitivity of our colorist control surfaces? How do we decide?
in this installment of the Colorist Podcast, Josh talk to colorist Juan Ignacio Cabrera about his work on cutting edge projects & many other subjects.
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 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.
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!
In this episode of the colorist podcast, Josh talks to Technicolor senior colorist Peter Doyle about his amazing career & many other subjects
DaVinci Resolve's 'Color Match' function is simple but can be confusing. Learn how to properly set up Color Match in ACES workflows.
In this episode of the colorist podcast, Josh talks to industry veteran/legend Dale Grahn about his storied career & many other subjects
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.
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.
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.