Does saturation on Resolve's Fusion look wrong when working color-managed? Colorist Daria Fissoun breaks it down and offers three fixes.
Mixing Light's professional colorists answer questions on graphic white points in HDR, crafting meaty saturation and the limitations of AI.
Get a FIRST LOOK at our industry's first Quantum Dot 2,000 nit reference display, the Flanders Scientific XMP550. We chat with FSI's CEO.
Flanders Scientific's CEO visits with Mixing Light members answering questions in this Office Hours conference call.
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 the remote, work from home reality that find ourselves in, how can you deliver color accurate real-time streams to clients? Learn how in this Insight.
In this Insight Robbie takes a look Screen and affordable, color managed video player for the Mac from Video Village.
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
Trying to understand the value of pro video displays? Want to know the differences (and trade-offs) between the technologies? Listen on...
In this installment of Color Correction Gear Head, Robbie shares some essential items that went into the building of his new facility.
In this episode, we discuss the past decade and speculate on the next 10 years in the world of color grading.
In this installment of From The Mailbag, we tackle a hot topic from the world of color grading this past week - is there such as thing as FAKE HDR?
Do you doubt your ability to color correct moving images? Are you constantly re-doing your work? Learn what's going wrong and how to fix it.
Learn how to set up your physical workspace for quick color grading in Adobe Premiere Pro. Plus, optimizing the software for your workspace.
We get a lot of questions about picking a color-accurate monitor for grading. In this episode listen to our thoughts on things to consider.
Premiere Pro has strict, but hidden, color management. Learn how to setup the software and hardware for proper color management & finishing.
The XDR looks like an impressive display from Apple but - is it a reference monitor? It sure is priced like one!
We take a look at Game Of Thrones Season 8, Episode 3 and ask, as creative professionals, was it too dark and where did it go wrong?
Team Mixing Light tackles a member's question on how to handle a DP who doesn't trust any monitor in a facility?
Video scopes are an essential tool to all colorists. Learn all the exciting new scope features in Resolve 16 to speed up your grading.
High Dynamic Range color grading is challenging. Listen as we discuss a question about HDR > SDR tone mapping and how to handle expectations?
The Team discusses a new training title we produced for Dolby about creating Dolby Vision content. Plus, Our thoughts about NAB 2019.
Troubleshoot an interesting problem for a more in-depth understanding how Resolve Color Management (RCM) works.
Team Mixing Light revisits the idea of using a single large format monitor in a color suite. Is it a viable solution?
Team Mixing Light discusses a member question about HDR: Is here to stay and should they be investing in HDR tech?
In part 3 of our ongoing Dolby Vision series, learn about big changes to Dolby Vision & Resolve in 2018, plus new tools & workflows.
Team Mixing Light is once again joined by Joey D'Anna to discuss integrating graphics and text into Dobly Vision HDR projects.
Digital video post production and color grading is rapidly advancing. Which technologies do you need to prepare for? And why?
Dan & Robbie describe watching colorists grade HDR for the first time, while competing! Plus, Mixing Light's partnership in China.
Pat, Robbie and Mixing Light Contributor Joey D'Anna discuss what can DPs and onset staff do to make the final color grade easier?
The Team discusses a question we've been getting a lot: Is it worth getting the FSI XM650U over a 65" LG OLED?
In this Insight, Robbie explores 10 things he's learned in 3 years of grading HDR and how his recent experiences have informed his view on HDR.
Flanders Scientific is shipping it's highly anticipated XM310K - a 31 inch DCI 4k 3000 NIT HDR mastering monitor with 12G connectivity. I talk to FSI CEO Bram Desmet about HDR & the XM310K.
Adobe re-built their Video Limiter Effect in Creative Cloud 2018. Can you trust the new effect to remove gamut excursion errors that will fail you in QC? This video Insight answers that question.
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.
In this special edition Mixing Light Podcast, Technical Evangelist Tyler Pruitt joins Robbie to discuss LG's 2018 OLED monitors and various calibration issues like metamerism, colorimeter matrices and more!
We discuss our 2018 NAB teaching plans and where to find Patrick on the show floor? We answer a member's question about the Harris DL860.
No, that's not Déjà vu! We're re-revisiting multi-channel audio output in DaVinci Resolve! In Part 1 of a new series, we'll explore the essentials of multi-channel output including using the 'Timeline Tracks' method, The Link Group behavior, and basic bussing.
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!
Learn the most common calibration mistakes post production professionals make when setting up their external displays; and the most common questions asked. An interview with FSI CEO Bram Desmet.
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.
If you have a broadcast reference monitor for editing and color correction then you need to make sure it's properly processing your images. Learn how to know if you have a mismatch in data levels with your editing or color correction software.
A member asks a question about working in Full Range but delivering a video rendered to legal/broadcast levels. We work through the thinking.
Learn how to calibrate your video reference monitor if you can't load a calibration Look Up Table (LUT) into the display, with CalMAN Studio. It's simple. It's fast. But it does require a professional display to be fully successful.
Team Mixing Light answers a member question about using the Judd Modification for an OLED reference monitor. What is it? When to use it?
Building on Robbie's recent articles, Pat and Dan ask questions about workflow and Robbie's recent trip to Dolby in Burbank, CA.
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.
Part 2 in our calibration series has us doing our first calibration in CalMAN Studio. We generate two different LUTs for our OLED display.
In this installment of Color Correction Gear we take a look at Intel NUC mini computers, Procool Rackmount fans, & Cinemaquest LED Bias Lighting
Begin learning how to calibrate your color correction Reference Display by seeing how to calibrate your colorimeter for highly precise measurements.
In part 2 of this ongoing series, Robbie explores using Streambox's Hybrid Encoder for remote sessions plus some additional gear.
In this episode of the colorist podcast, Josh talks to Technicolor senior colorist Peter Doyle about his amazing career & many other subjects
In part 1 of a 3 part series, we explore the different methods of remote grading and how remote work can help your bottom line.
Resolve users are often tasked with making final outputs.In this Insight, learn how to easily route multi-channel audio for output.
DaVinci Resolve 12.5 has introduced some new Stereo features... to support HDR workflows for High Dynamic Range color grading. Learn more...
In this Color Correction Gear Head, Robbie takes a look at the zBook Studio From HP, the GeChic 1303i monitor, Tangent Ripple & CineXtools
Optimizing for CalMAN the X-Rite i1 Display Pro and SpectraCAL C6 is easy. Learn how—and the differences between these colorimeters.
If you do video color correction, watch 'Getting Started with CalMAN ColorMatch' to learn how to test if your reference display is accurate.
Learn how using Custom Offsets with the i1 Display Pro OEM can turn this inexpensive colorimeter into a reference meter you can trust.
The X-Rite i1 Display Pro is the most popular colorimeter on the market. Learn how to use it in Lightspace for video profiling & calibration.
Learn how to read the graphs in Lightspace DPS, to evaluate if your display requires calibration for color correction.
'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 Resolve Studio 12.5, the paid version of Resolve, is starting to get siginificant features that free users will want.
This DaVinci Resolve 12.5 First Look shares a working colorist's initial thoughts about the big new update to this color correction software.
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.
Learn how the 'data levels' and 'video levels' Project Setting effects your external scopes when color correcting in DaVinci Resolve.
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.
A couple weeks after NAB 2015, Team Mixing Light breaks down NAB 2015 - the gear & other amazing stuff from the week.
In this Insight, learn what RGB Gamut errors are and how to identify them before a broadcaster catches them for you!
How much time have you spent thinking about your eyes? Dan starts a new series about health issues including eye awareness.
The Colorimetry Research CR-100 & CR250 are two of the most affordable and accurate calibration meters on the market. Learn more...
Divergent Media's ScopeBox not only provides high quality customizable scopes but a full fledge digital recorder for capturing content.
Have you had a client reject a grade after they left the color correction suite? Learn how handle this problem without losing your client.
In this episode of From The Mailbag learn about our picks for top reference monitors and how to build a calibration system on a budget
If you're confused about understanding Output Sizing in DaVinci Resolve—especially if you need to keyframe it—then this video is for you!
Learn an innovative approach to framing filmed images for multiple aspect ratios. Also - how to view these framings inside DaVinci Resolve.
In this video learn how a professional colorist configures the affordable software scopes, ScopeBox, for image evaluation to speed up color correcting.
DaVinci Resolve doesn't officially support the specific combination of a 720p frame size playing back at 23.976. Learn how you can force this playback.
We answer two questions: Solving a problem with keying and windowing the moon on a black background + explaining technical terms to co-workers.
Podcast: Learn about a new training title for SpeedGrade CC + How to work with a DP in a color correction session + Choosing video displays for grading.
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?
Learn why a professional colorist is eager to finally get this uber-expensive OLED display into his color correction suite. What does he think about it?