RED's IPP2 Pipeline In Resolve (Sort Of)

RED's new IPP2 processing pipeline has a lot to offer, in this Insight, we explore the new pipeline setup in RedCineX & DaVinci Resolve 14

Is Your ARRI Alexa Mini Color Pipeline Properly Set in ACES?

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).

How To Use DaVinci Resolve’s Color Match In ACES

DaVinci Resolve's 'Color Match' function is simple but can be confusing. Learn how to properly set up Color Match in ACES workflows.

How to Color Match using Color Charts with RAW (or LOG) Footage

DaVinci Resolve's 'Color Match' is terrific for Color Charts recorded on-set. Learn the tricks to this feature if your Footage is RAW or Log.

How To Quickly Generate Color Correction Ideas

Are you having problems deciding how to attack color correcting your images? Learn how to quickly generate ideas in this video.

Syncing Resolve's LUT Folder & Viewing HDR & SDR Simultaneously

In this MailBag episode, we discuss how to easily sync Resolve's LUT folder & the pros/cons of viewing HDR & SDR simultaneously

Colorist Podcast: Episode 3

In Episode 3 of the Colorist Podcast Josh talks to well-known finishing artist & colorist Gray Marshall from Technicolor L.A. about his work.

12 New Features in Resolve Studio 12.5 (to get you to upgrade to Paid)

These 12 New Features in Resolve Studio 12.5 may finally get you to upgrade to the paid version. See some of them in action.

Resolve 12.5 - Robbie's Top Features

Another April, another version of DaVinci Resolve! In this Insight, Robbie shares his top new features of this exciting release.

MailBag Episode 30: NAB '16, Film Style Grading, sRGB

In this installment of From The Mail Bag we discuss our NAB '16 plans, log style grading and sRGB deliverables.

Working with LUTs and Camera RAW in Premiere Pro Part 2

Working with LUTs and Camera Raw in Premiere Pro can be tricky. In this video, learn one workflow that makes it a bit easier.

Working with LUTs in Premiere Pro: Part 1

Learn how to color correct with LUTs in Premiere Pro and the Lumetri Panel. Especially if your color correcting with RAW-, Log- or flat- recorded images.

Exploring the Lumetri Color Tools (Part 2)

Understand how the Lumetri Color Tools work in the latest version of Premiere Pro CC. Plus learn about a potential flaw in these tools.

From The Mailbag EP 29: HDR Musing & Log Saturation

In this episode, Team MixingLight discusses HDR and best practices for setting saturation levels for log encoded footage

RED HDRx Workflow With Resolve

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.

Permanently Adding LUTs To The Lumetri Color Panel

Using LUTs with the Lumetri Color Panel can be tedious.In this Insight learn how to add LUTs permanently to the panel for quick access

LAB Colorspace in DaVinci Resolve 12

How DaVinci Resolve 12 changes the way we write contrast curves in the LAB Colorspace. See the difference between Resolve 11 & 12 curves.

Resolve Color Management & Raw

Resolve Color Management (RCM) is powerful workflow tool but using it with Raw footage can be slightly confusing. Learn more in this Insight

Color correcting raw footage using Camera Raw controls

DaVinci Resolve provides RAW controls for color correcting raw footage. Here are three rules if you want to use those controls.

Is Changing ISO in Post Production Accurate?

When working with RAW-recorded video in post-production is changing ISO in software the same as doing it in-camera? Click and find out.

Overview of the Koji Advance Film Emulation Plug-In

Learn the ins and outs of the Koji Advance Film Emulation Plug-in in this video. Learn how to use it and some of its unique options.

Changing Exposure in Post-Production: A Thought Experiment

Does the Exposure control for a RAW-recorded video file work the same as changing the iris on your camera? This video explores this concept.

An Overview of the 'Color Finale' FCP X Plug-In

This is a video overview and breakdown of the FCP X color correction plug-in 'Color Finale'

Getting To Know Lattice

With LUTs so common place in modern color grading sometimes you need to visualize and convert them - Lattice can help!

Shot Matching Workflow

Do you have trouble with shot matching while color correcting video? This tutorial will show you a reproducible workflow for any software.

Final Cut Pro X Color Balance Precision

Do you find it difficult to make precise Final Cut Pro X color balance decisions? This video tutorial will give you ideas for fixing that.

Damage Control - Creating A Look With Difficult Footage

Grading high quality is fun but what happens when you have difficult footage to begin with? Dan takes a look at Damage control when grading

Exporting LAB LUTs from Photoshop: Does it work?

Can you make extreme color corrections in LAB color space and export those LAB LUTs from Photoshop and have them work in Davinci Resolve?

From The Mailbag Episode 20

In this From The Mailbag, we cover two GPU questions. Should you upgrade your system or GPU & does GPU debayering for RED footage work?

Manual Color Matching in DaVinci Resolve 11

Part 3 of a series on how to use the DaVinci Resolve 11 'Color Match' tool. In this video, learn how to build your own Color Match node.

Resolve's 'Color Match' Is Easier Using 'Brightness First' Rule

DaVinci Resolve's 'Color Match' feature can be tricky. But if you follow the 'Brightness First' Rule, you'll probably get better results.

Saturation in Final Cut Pro X: Is Your Image Colorful Enough?

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!

Why You Need To Dig Deep: Final Cut Pro X Exposure Slider

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?

Dealing with Saturation in LAB Colorspace

In Part 5 of our LAB in DaVinci Resolve series, we answer members questions about dealing with saturation in LAB colorspace.

DaVinci Resolve Node Trees for LAB Colorspace

Explore the different types of DaVinci Resolve node trees for LAB colorspace. Should we do all our work in one node? Or multiple nodes?

LAB Color in DaVinci Resolve: Is it effective?

Explore several types of source footage to determine which one are best suited for working with LAB color in DaVinci Resolve.

LAB Color in DaVinci Resolve - Foundations Part 2

In this video, transfer those Photoshop skills color correcting LAB color in DaVinci Resolve - plus how the tools don't translate directly.

LAB Color Correction Foundations - Photoshop

Learning how to color correct in LAB color space with DaVinci Resolve is easier if we start with how the Photoshop experts are doing it.

Footage Quality Control - When To Reject Footage

Footage Quality Control in a modern file based world can be tricky. Dan shares his advice on how and when to reject source material.

Building A Visual LUT Library With Resolve 11

In this Insight, learn how to take a list of Look Up Tables in Resolve 11 and make it into a visual LUT Library

Using Log Controls As A Secondary Correction

Many colorists use log controls as a primary grading tool. In this Insight learn how the log controls can also be used as a secondary.

Legalizing With No Legalizer & R3D Trimming

In this installment of From The Mailbag we discuss two questions about video legalization & using R3D trimming in Resolve with Remote Grades

Techniques for Color Correcting Long Steadicam Shots

Color correcting long steadicam shots can be a challenge. Learn how a professional colorist cracks this nut with shapes, tracking and keyframes.

Understanding the Arri LUT Generator: Do's and Don'ts

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.

How To Work With Arri Alexa LUTs, Part 1: In Action

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.

How To Use the RGB Mixer To Remove The Arri Alexa Film Matrix

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.

Color Correcting A Film Trailer: Sony FS700 Footage

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.

How to Prepare A Film Trailer For Color Correction

Learn how a professional colorist evaluates a project (film trailer) before a single shot is color corrected - a critical step for smooth sessions.

FilmConvert Review: In Action to Color Correct RED Footage

In part 2 of our FilmConvert Review you'll learn how to use this OpenFX plug-in on RED footage, with impressively good results.

An Introduction to the OpenFX Film Convert Plug-In: Part 1

Part 1 of our two-part overview of the Film Convert Plug In. Learn how to use the OpenFX version in DaVinci Resolve 10 and explore its various options.

Going Freelance As A Colorist + Using Scopes With RAW Footage

When is the right time for going freelance as a Colorist? Do scopes work with RAW? We answer Member questions in Episode 6 of our Podcast.

How to Color Correct Using LUTs (By Preparing Your Images)

If you're confused on how to color correct using LUTs, this video (one in a series) shows several different approaches for you to try.

How to Emulate the Clarity Slider + Color Correcting in VFX Workflows

Three professional colorists discuss how to emulate LightRoom's Clarity Slider in DaVinci Resolve. Plus, where color correction fits in VFX workflows.

How to Reverse Engineer Look-Up Tables (LUTs)

Learn how to deconstruct a LUT (Look Up Table) to understand its impact on your image. This will improve your color correction using LUTs.

Creating Color Correction Looks: The Low Contrast Look

The Low Contrast Look is a flat style of color correcting. In this video, learn how we execute it without making our images look lifeless.

Creating Color Correction Looks: Emulating the Film Look

Has a client ever asked you to create a 'Film Look'? Yes, us too. In this video, learn how we get to this Look using some new features in DaVinci Resolve.

Building Color Correction Looks: Tinting Your Shadows

Sometimes when you're color correcting you need to give the job an extra wow factor. My favorite technique at the moment is tinting the shadows. Learn how.

How to Color Correct the Blackmagic Pocket Camera

Are you looking for ideas on how to color correct the Blackmagic Pocket Camera? I share how I work with it in DaVinci Resolve.

Trimming RED Footage Using DaVinci Resolve's Media Manager

Learn how you can trim RED footage and copy to your hard drive only the portions of your clips needed to recreate your timeline, saving hard drive space.

Color Correcting with Log Controls in DaVinci Resolve: An Overview

Have you wondered how to use the Log Controls in DaVinci Resolve? This video is an overview of all the controls and some basic theory of how they work.

The Case For Completely Avoiding LUTs (And Going DIY)

You shouldn't be a slave to LUTs... learn how to quickly decide if they're working. And if not, learn to throw away those LUTs and just 'Do It Yourself'.

What Are the Limitations of LUTs When Color Correcting in 32-bit Float?

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.

How to Work with Arri Alexa Footage in Premiere and SpeedGrade

Are you working with Arri Alexa Footage in Premiere Pro or SpeedGrade? This tutorial will walk you through the workflow.

Color Correcting with LUTs: The 3-Node Approach

Learn a node structure for using LUTs in DaVinci Resolve (and the reasoning behind it). Segmenting your workflow into clear distinct actions speeds you up.

What is a LUT (and how do you use a LUT for color correction)?

Look-up Tables are mathematically precise. Understanding LUTs requires you to accept that a single LUT can NEVER be used for all your shots.

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