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Delivering 608 & 708 Captions (which Resolve doesn't support)
Colorist and finisher Patrick Inhofer shares how he developed his workflow for embedding 608 & 708 captions - which Resolve doesn't support.
How to Export Multi-Channel Audio Stems in Premiere Pro
Export multi-channel audio in Premiere Pro with this step by step guide, including a hack for editing audio channels in existing files.
How to Create a Digital Cinema Package (DCP) in DaVinci Resolve
Need to make your first DCP in DaVinci Resolve? This in-depth guide with 3 Post Pros will teach you everything you need to know to succeed.
How Do You Read (And Set Up) Nobe OmniScopes Like A Colorist?
Professional colorist Daria Fissoun CSI shows her different OmniScope Layouts, optimized for different workflows. Plus, download her layouts.
Editors & Colorists - Properly Archive Your (Premiere Pro) Projects
Editor Jonny Elwyn teaches you the ins and outs of archiving your projects, the different options, and tips for Premiere Pro projects.
Deinterlacing & Upscaling NTSC Archives To 4K Deliverables
Learn how to use Resolve to deinterlace and upscale NTSC footage to 4K while preserving the original quality of your archive materials.
Answering Member Questions: HDR and Dolby Vision Workflows
Grading and delivering HDR is a complex technical process. Learn to master it with an hour of expert insights from 3 professional colorists.
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.
Automatic Naming Using Metadata Variables in DaVinci Resolve
Luke Ross explores DaVinci Resolve's 'Metadata Variables'. Learn how to generate still, burn-in, and render setting names - automagically.
A Deep Dive Into Rendering H.264 & H.265 from DaVinci Resolve
Mixing Light contributor and freelance colorist Luke Ross takes a deep dive into H.264 & H.265 render options on a Mac and PC in Resolve.
Tips For Avoiding (and Solving) Gamma Shifts On MacOS Renders
Avoid the Mac Gamma Shift problem on your exports with this step-by-step guide to consistent color management in DaVinci Resolve on a Mac.
How to Export the Highest Quality YouTube Videos
Learn how to set up DaVinci Resolve's color management when delivering to YouTube and modify the default preset for better quality.
Office Hours LIVE! HDR White, Saturation Controls, New Displays
Mixing Light's professional colorists answer questions on graphic white points in HDR, crafting meaty saturation and the limitations of AI.
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.
Rendering Files for Review or Delivery in Baselight
Luke Ross wraps our 20-part introductory series on color grading with Baselight (and the free Baselight LOOK) on how to create deliverables.
What Type of Dailies Is Right For Your Production?
Creating dailies seems simple - but professionals break them down into several varietals. In this Insight, you'll learn the key differences!
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!
How To Manage Versions for VFX & Graphics in DaVinci Resolve
If you have many graphics or visual effects shots that might be replaced at the last minute, learn the value of Resolve's 'Take Selector'.
Streaming Dolby Vision, REC-709a, And Consumer OLED Displays
Team Mixing Light, and members, discuss streaming Dolby Vision mp4s; Rec. 709a (what is to be done); and consumer displays for grading.
An Introduction To Versioning Efficiently Using Compound Timelines
Use compound timelines in DaVinci Resolve for speed and efficiency when managing separate versions of timelines and multiple creative teams.
How Do You Succeed Running A Color Grading Business?
The team is joined by our newest Contributor, Zeb Chadfield, answering business-related questions on being a colorist and getting paid.
NAS, Security, Archival Footage, and HDR - An Office Hours Discussion
Team Mixing Light discusses member questions including: TrueNAS storage, archival footage artifacts, budget HDR monitoring, and security.
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.
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).
Dolby Vision - Custom ACES SDR to HDR Part 4 - Deliverables And QC
In Part 4, learn how to QC and deliver your Dolby Vision HDR and SDR masters, including Video- or Data- level settings for ProRes exports.
How To Set Up and Deliver Dolby ATMOS in Resolve 17
In this Insight, learn how to setup, monitor, edit and deliver Dolby Atmos immersive audio in DaVinci Resolve 17