Today's Agenda: What do digital video post production professionals need to consider when buying a storage solution for their digital media?
In part 2 of his series, Peder Morgenthaler dives deeper into the controls in DaVinci Resolve's Color Warper.
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.
In this Insight, learn how to setup, monitor, edit and deliver Dolby Atmos immersive audio in DaVinci Resolve 17
Dan looks back at a rollercoaster 2020 and his most memorable moments. Then he looks forward to a new color grading suite he's building.
Today's Agenda: Is it just me or does the ACES color management system feel like it's limiting my creative choices?
Learn how to set up Resolve Color Management for success. You'll also see a colorist's node tree, designed for RCM & the HDR Palette.
The new Color Warper in DaVinci Resolve 17 is very powerful, very accurate, but a bit complicated. In Part 1, learn this tool's fundamentals.
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
How easy is it to do final finishing in Baselight? Dan shares his approach to adding titles, audio, compositing and rendering
We welcome new contributor Jason Druss to Team Mixing Light as he kicks off his new 'Good Grades' series talking to top colorists. First up Shawn King
SetStream.io is a powerful new remote streaming tool. In this Insight, we sit down to chat with Thatcher Kelley to learn more about SetStream.io
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.
Learn how to establish good color management and clear definitions for your look development workflow.
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.
The new DaVinci Resolve Speed Editor is a fantastic controller. Learn how to use it for color grading, online editing and multicam workflows,
Grading a one-shot music video shot on the Panasonic GH5 was challenging. Check out this Insight to learn Dan's approach.
In Part 2 of this series, we dig deeper into the HDR Palette and continue exploring its differences from the traditional Primaries Palette.
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
In this Insight, Robbie reflects on 2019 and shares some of his goals for 2020 to help run a stronger color correction buisness
Are you wondering how much colorists, DITs, or one of their assistants charge per-hour in your city? Katie shares the findings from a survey.
In this installment of Color Correction Gear Head, Robbie shares some essential items that went into the building of his new facility.
In this new series, Dan's grading the short film 'Origins' (using Baselight). It's got VFX, ACES, multiple deliverables (and light sabers).
Learn the benefits of a 'fixed node tree' in DaVinci Resolve. Get a look inside one colorist's node tree - and how it evolved over time.
Learn two different methods (with different levels of control) of emualting the beauty of film halation using DaVinci Resolve.
In this episode, we discuss the past decade and speculate on the next 10 years in the world of color grading.
Team Mixing Light revisits the idea of using a single large format monitor in a color suite. Is it a viable solution?
Dan shares the reasoning behind his new showreel and also gives some tips on when and where to share it for maximum views
In this installment of From The Mailbag, we take a look at trends and thoughts about 2018 and discuss what 2019 will hold for colorists.
These 'don't miss' color grading related articles and videos are culled from 2018's 4th quarter of the weekly curated Tao Colorist Newsletter.
Team Mixing Light discusses a member question about HDR: Is here to stay and should they be investing in HDR tech?
Team Mixing Light answers a member question about using the Judd Modification for an OLED reference monitor. What is it? When to use it?
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!
Our focus in our Insights Color Correction Library is on creating original content. But sometimes we see original thoughts on other websites that you need to read. In this post, we share a few of those don't-miss insights from the internet.
Building on Robbie's recent articles, Pat and Dan ask questions about workflow and Robbie's recent trip to Dolby in Burbank, CA.
Team Mixing Light discusses the first ever Blackmagic Design Conference & Expo as well as our thoughts on Apple's latest - the iMac Pro.
FCPX 10.4 update introduces some long-awaited color correction features, like wheels and curves. This Insight reviews the standout points of this new color correction toolset - and gotcha's you should understand.
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.
In part 2 of this ongoing series, Robbie explores using Streambox's Hybrid Encoder for remote sessions plus some additional gear.
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.
Dan jumps from commercials to features in this series and shares his guide to getting organized and plan for efficient feature grading
Team Mixing Light discusses choosing colorist reference monitors. Plus, using LG's consumer OLED televisions in our color suites.
In this Insight, Robbie shares some hard-won tips on what to do when you screw up the pricing on a flat bid & how to prevent these mistakes.
Learn what settings to use in Premiere Pro CC when Scaling in XML workflows. And the settings to use for importing into DaVinci Resolve.
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
Robbie, Pat, and Dan discusses the look of the series 'Westworld' and our look creation philosophies when color grading.
The Color Correction Gear Head Series is back! This time around we cover a video router, a couple sets of adapters, and a streaming solution.
Get an overview of how the Logitech G13 Gaming keypad works - with ideas on how it can speed up your video post-production workflow.
Day 11: 25 Insights in 25 Days New Year Marathon Enhanced Or Natural In this Insight I’m asking the questions behind Sky Replacement and if it belongs in the…
Most of us love to use LUTs behind closed doors. Dan shares his thoughts on why and how to break out of needing LUTs
The Team discusses GPUs for the colorist and how to select one. Plus, tech we've discovered we can live without, and tech we can't.
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
We discuss our Insights Marathon moving to January and what to expect. Plus, we reveal plans for the next iteration of our website!
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
Neat Video is a popular noise reduction plugin for a variety of platforms. In this Insight Robbie explores the plugin now in version 4.
2016 is almost here! Check out this Insight to discover some New Year's resolutions to strengthen your color grading business.
Do you think it's hard to color correct in Premiere Pro? Learn how broken color correction filters make the task harder than it needs to be.
Why is color correcting in Premiere Pro so hard? This article explores Premiere's 'legacy' color correction filters and finds the answers.
In this installment of From The Mailbag we discuss how to isolate and sharpen edge details, and discuss a proper video noise reduction workflow
Learn from a professional colorist how to select a color correction plug-in for FCPX. What are main features you should be looking for?
Diving into HDR (high dynamic range) video? Check out this Insight to learn the essentials of getting setup for HDR in DaVInci Resolve
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 installment of From The Mail Bag, Team Mixing Light discusses what goes into the 'glossy' look of many commericals & how to edge sharpen shots.
In this Insight, learn the essentials of working with RED HDRx media in DaVinci Resolve to get the most out of an exposure and the look of a shot.
Learn how to create custom workspaces for speeding up your color correcting in Premiere Pro CC.
In the latest installment of From The MailBag learn about our annual holiday marathon & our soon to be released Resolve 12 training
DaVinci Resolve's 'Color Match' feature can be tricky. But if you follow the 'Brightness First' Rule, you'll probably get better results.
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.
Learn about a little known feature in Resolve 11 called Dynamic Project Switching that allows you instantly switch between large projects
How do you know if your images are colorful enough? When's the best time to set your saturation in Final Cut Pro X? Find your answer here!
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?
You've been able to apply lookup tables in Adobe Photoshop for a while, but a new feature gives the ability to export LUTs. Learn how!
Advanced Beauty Grading is quite a dark art in the world of color grading. Dan shows you his approach to beauty grading on a commercial.
Check out this episode of From The MailBag to learn about grading of Vimeo/YouTube & When to use an SSD For Resolve's Render Cache.
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.
Explore the different types of DaVinci Resolve node trees for LAB colorspace. Should we do all our work in one node? Or multiple nodes?
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.
What if a professional colorist were required to color correct in Final Cut Pro X (without plug-ins)? We start by exploring Exposure.
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.
Explore several types of source footage to determine which one are best suited for working with LAB color in DaVinci Resolve.
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!
In DaVinci Resolve, video noise reduction targeted to specific color channels lets us balance between sharpness and noise reduction.
Are you confused about how to use Arri Alexa LUTs on your projects? Learn one approach to using them creatively, based on Arri's own LUT Generator.
Can you perform simple compositing in DaVinci Resolve? Yes. Plus, you can use blending modes and alpha channels to add visual effects or graphics.
The SpeedGrade color wheels seem basic. This is a deep look at its unique color correction toolset to see its real power, using RED footage.
Learn how to perform basic online editing tasks in DaVinci Resolve 10. This tutorial looks at compositing, titles and Sapphire plug-ins.
Are you fighting a green color cast with Arri Alexa footage? This may be due to the Arri Alexa Film Matrix. Learn how to use Resolve's RGB mixer to fix it.
In this video learn how a professional colorist configures the affordable software scopes, ScopeBox, for image evaluation to speed up color correcting.
In this color correction tutorial, we explore color correcting FS700 footage in our Fake Film Trailer. We'll also use Sapphire plug-ins for DaVinci Resolve.
Using shapes to isolate areas of your image for color correction is a key color correction skill. Learn how to do this using the Premiere Pro Title Tool!
In this installment of the Fake Film Trailer, I start color correcting Red Dragon footage. It's my first time working with this camera.
It's easy to get lost in the weeds when color correcting. Learn a Color Correction Time Management technique that keeps you from missing deadlines!
We explored video noise reduction in DaVinci Resolve 10 earlier. In this tutorial you look at the OpenFX plug-in, Neat Video, and compare the differences.
Explore DaVinci Resolve 10's built-in video noise reduction tools. It's available to paid owners Resolve 10. Should you upgrade? Watch Parts 1 & 2...
The Dream Sequence Look is commonly requested. You learn how to create a 'Heavenly White' Look for an indie feature film—and try it out on your next job. No plug-ins, just the standard tools you'll find in most software.
We're going to use DaVinci Resolve key frames with animating Power Windows—dialing up the tension and creating the feeling of alien ships flying over head.
Is working for free a huge professional mistake? Not necessarily. Learn how to handle these requests like the video professional you are.
When using Scene Cut Detect (or Preconforming) in DaVinci Resolve, how do you deal with Dissolves? Watch the video and learn the very simple answer.
Learn how a professional colorist evaluates a project (film trailer) before a single shot is color corrected - a critical step for smooth sessions.