Take an introductory look at the Color Decision List (CDL) and learn about the strengths and weaknesses of an ASC-CDL based workflow.
While creating a Western look, learn how to use a color space transform with a film print emulation LUT in DaVinci Resolve.
Summer 2018 round-up of don't-miss color correction tutorials from other websites (with commentary). We wish we had them here, first.
Learn the 'rules' when exporting LUTs in DaVinci Resolve 15. You also learn how to break a LUT to understand the problems with many LUTs.
Learn the new and officially sanctioned method for permanently adding LUTs to the Lumetri color panel in Premiere Pro CC 2018 and later.
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.
In an earlier Insight, you learned how to Stress Test your Look Up Tables (LUTs) to discover if they are introducing artifacts in your images. In this Insight, learn how easy (or hard) it is to generate 'broken LUTs' in DaVinci Resolve.
Look-Up Tables (LUTs) are black boxes that make it difficult to know what precisely they're doing to your image. Colorist Jason Bowdach shows you how to stress test and evaluate your LUTs.
In this video, you learn techniques for color correcting log encoded white cyc footage. Plus get several solutions for fixing common problems with these types of shoots and why, many times, your corrections are a compromise.
The color restoration of classic films is one of the few 'Dark Arts' of digital color correction. Colorist Jim Wicks shares his challenges - and lessons learned - from this unforgiving niche of the craft of color grading.
If you use DaVinci Resolve to color correct with Color Charts then should you change your workflow in DaVinci Resolve 14? The answer isn't simple. Or is it?
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
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).
DaVinci Resolve's 'Color Match' function is simple but can be confusing. Learn how to properly set up Color Match in ACES workflows.
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.
Are you having problems deciding how to attack color correcting your images? Learn how to quickly generate ideas in this video.
In this MailBag episode, we discuss how to easily sync Resolve's LUT folder & the pros/cons of viewing HDR & SDR simultaneously
In Episode 3 of the Colorist Podcast Josh talks to well-known finishing artist & colorist Gray Marshall from Technicolor L.A. about his work.
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.
Another April, another version of DaVinci Resolve! In this Insight, Robbie shares his top new features of this exciting release.
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 can be tricky. In this video, learn one workflow that makes it a bit easier.
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.
Understand how the Lumetri Color Tools work in the latest version of Premiere Pro CC. Plus learn about a potential flaw in these tools.
In this episode, Team MixingLight discusses HDR and best practices for setting saturation levels for log encoded footage
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.
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
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 (RCM) is powerful workflow tool but using it with Raw footage can be slightly confusing. Learn more in this Insight
DaVinci Resolve provides RAW controls for color correcting raw footage. Here are three rules if you want to use those controls.
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.
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.
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.
This is a video overview and breakdown of the FCP X color correction plug-in 'Color Finale'
With LUTs so common place in modern color grading sometimes you need to visualize and convert them - Lattice can help!
Do you have trouble with shot matching while color correcting video? This tutorial will show you a reproducible workflow for any software.
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.
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
Can you make extreme color corrections in LAB color space and export those LAB LUTs from Photoshop and have them work in Davinci Resolve?
In this From The Mailbag, we cover two GPU questions. Should you upgrade your system or GPU & does GPU debayering for RED footage work?
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.
DaVinci Resolve's 'Color Match' feature can be tricky. But if you follow the 'Brightness First' Rule, you'll probably get better results.
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!
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?
In Part 5 of our LAB in DaVinci Resolve series, we answer members questions about dealing with saturation in 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?
Explore several types of source footage to determine which one are best suited for working with LAB color in DaVinci Resolve.
In this video, transfer those Photoshop skills color correcting LAB color in DaVinci Resolve - plus how the tools don't translate directly.
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 in a modern file based world can be tricky. Dan shares his advice on how and when to reject source material.
Learn how to take a list of Look Up Tables in Resolve 11 and make it into a visual LUT Library. This workflow can be used in any version of Resolve before Resolve 15 (which introduced a built-in LUT Library).
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.
In this installment of From The Mailbag we discuss two questions about video legalization & using R3D trimming in Resolve with Remote Grades
Color correcting long steadicam shots can be a challenge. Learn how a professional colorist cracks this nut with shapes, tracking and keyframes.
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.
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.
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 color correction tutorial, we explore color correcting FS700 footage in our Fake Film Trailer. We'll also use Sapphire plug-ins for DaVinci Resolve.
Learn how a professional colorist evaluates a project (film trailer) before a single shot is color corrected - a critical step for smooth sessions.
In part 2 of our FilmConvert Review you'll learn how to use this OpenFX plug-in on RED footage, with impressively good results.
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.
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.
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.
Three professional colorists discuss how to emulate LightRoom's Clarity Slider in DaVinci Resolve. Plus, where color correction fits in VFX workflows.
Learn how to deconstruct a LUT (Look Up Table) to understand its impact on your image. This will improve your color correction using LUTs.
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.
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.
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.
Are you looking for ideas on how to color correct the Blackmagic Pocket Camera? I share how I work with it in DaVinci Resolve.
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.
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.
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'.
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.
Are you working with Arri Alexa Footage in Premiere Pro or SpeedGrade? This tutorial will walk you through the workflow.
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.
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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