Team Mixing Light discusses Sony's prototype 4,000nit display, Resolve 18.5 Beta new features, and colorist opportunities on Virtual Sets.
Colorist and finisher Jason Bowdach revisits the topic of which setting to use in Resolve for exporting to Premiere Pro: Data vs Video Levels?
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.
Premiere Pro has strict, but hidden, color management. Learn how to setup the software and hardware for proper color management & finishing.
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.
If you want to calibrate your reference display through your main non-linear editing software then you want to use calibration test patterns playing through a timeline. Learn how to be sure you don't have Data- and Video- level mismatches.
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.
In this CalMAN Studio series you've learned how to calibrate a video reference display using Look Up Tables (LUTs). Not every display supports internal LUTs. If you don't have (or want) an external LUT box then what do you do then? Watch and learn.
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.
In part 1 of our series on getting to know Dolby Vision HDR workflow & color correction, you learn the essentials of setting up a professional Dolby Vision mastering suite.
Color management can be complex. We talk to FSI's Bram Desmet about their new BoxIO Lut box and how it can help on-set & in post.
Learn how the 'data levels' and 'video levels' Project Setting effects your external scopes when color correcting in DaVinci Resolve.
DaVinci Resolve allows you to choose between 'video levels' and 'data levels'. Learn how to choose wisely and if you should be making a choice at all?
With LUTs so common place in modern color grading sometimes you need to visualize and convert them - Lattice can help!
In this installment of From The Mailbag, we discuss using grain as an external matte on a still & broadcast safe workflow.
DaVinci Resolve's 'Color Match' feature can be tricky. But if you follow the 'Brightness First' Rule, you'll probably get better results.
In this episode of From The MailBag, learn about Resolve 11's new broadcast safe option & how to use LUTs while Grouping.
In this installment of From The Mailbag we discuss two questions about video legalization & using R3D trimming in Resolve with Remote Grades
A hardware video legalizer like the Harris DL860 does a much better job than software legalization. Learn more about how this unit works.
Learn how to create LUTs for the Alexa using the official Arri LUT Generator. Develop your own set of best practices when working with this tool.
When using Look-Up Tables you've got be careful with LUTs and 32-bit Float... otherwise you may end up clipping out valuable image detail. Learn why.
Avid's Y Waveform sets black above the bottom of the scale whereas Resolve's Waveform sets its blacks at the bottom of its scale. Which is correct?