Learn how to set up Adobe Premiere Pro for HDR workflows and to make Apple Retina's displayP3 monitors 'accurate' for web-based deliverables.
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.
Resolve 16 adds hundreds of features, including powerful new adjustment clips. Learn how to use them streamline your grading workflow.
Troubleshoot an interesting problem for a more in-depth understanding how Resolve Color Management (RCM) works.
Do you perform repetitive tasks on a regular basis when color correcting or finishing? Then learn how to use DCTLs to automate those tasks!
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.
Pat, Robbie and Mixing Light Contributor Joey D'Anna discuss what can DPs and onset staff do to make the final color grade easier?
If you want to upgrade from an earlier version to DaVinci Resolve 15 then how do you do it safely? This checklist will help you out.
We discuss if professional colorists should be standardizing every project around color management systems like RCM & ACES?
Learn how to track DaVinci Resolve 15's non-destructive paint tools in Fusion. Plus, get a tip for viewing a color grade inside Fusion.
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.
The only person that is going to inspire you is yourself. A Look Library surrounds you with inspiration keeping you motivated and current.
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.
Learn what one colorist thinks of DaVinci Resolve 15 Public Beta the first time he launches it. Not on the trade show floor in Las Vegas where he first saw it... but in quiet of his suite. And discover the huge new feature no one is talking about!
In this special Insight, Bram Desmet CEO & General Manager stops by Robbie's studio to take a look at the brand new FSI XM650U UHD OLED HDR Monitor. Learn about the essential design of the monitor, its capabilities and how it might help you.
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.
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 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.
Film restoration and remastering is a very unique specialty in the craft of digital color correction. Learn how a Hollywood colorist handles the unique challenges. Get some insights into his workflow and 'insider' stories.
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 the last installment for 2017, the Colorist Podcast looks back at some key moments from the series this year with a year in review highlights episode
Xrite makes a terrific, affordable colorimeter for the broadcast display market - the i1 Display. We test an old C6 to see how accurate it can be.
Colorimeters age and become unreliable after a few years. Learn how to extend the life of yours, using CalMAN Profiles and a reference colorimeter.
Learn how to improve your display calibration results when using CalMAN Studio. And does using a 'Lightning LUT' compromise your final results?
Part 2 in our calibration series has us doing our first calibration in CalMAN Studio. We generate two different LUTs for our OLED display.
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
Some jobs just call for the grade to be turned up to 11. A fun way to do this is by blending multiple LUTs together and enjoying the happy accidents!
Sometimes when grading you end up going in totally the wrong direction have to just stop what your doing and start from scratch.
Is lens profiling something we should be looking at as colorists or is it a lot of extra effort to save a small amount of time in the grade?
In this episode of the colorist podcast, Josh talks to industry veteran/legend Dale Grahn about his storied career & many other subjects
Most of us love to use LUTs behind closed doors. Dan shares his thoughts on why and how to break out of needing LUTs
A member asks how they can easily sync Resolve's LUT folder between suites. Plus, the pros/cons of viewing HDR & SDR simultaneously.
Our Getting To Know ACES series continues, looking at the essentials of using ACES for VFX roundtrips with DaVinci Resolve. You learn how to move images between VFX and color grading within the ACES color science.
Dan shares his story from the grading room on grading a short promo project for radiohead
Get a look at the new features in Premiere Pro CC 2015.3 for existing color correction tools, including the Lumetri Effect.
Learn how to create a Virtual LUT and decide if it'll make your color correction reference monitor more accurate? Software:CalMAN & Lightspace
Another April, another version of DaVinci Resolve! In this Insight, Robbie shares his top new features of this exciting release.
Learn how to use Premiere Pro Color Correction filters in a logical and organized method for any sized project. We start with contrast.
Using Luts in a color correction workflow is common, but everything doesn't always worked as planned. Learn 4 ways to work around look up table limitations
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.
In this Insight learn how to build Infrared type looks in Photoshop & export them for use video grading tools like DaVinci Resolve.
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.
In this Insight, learn how with help of a simple yet powerful plugin you can export Look Up Tables (LUTs) from Lightroom to use elsewhere.
Can you make extreme color corrections in LAB color space and export those LAB LUTs from Photoshop and have them work in Davinci Resolve?
Learn how to deconstruct a LUT (Look Up Table) to understand its impact on your image. This will improve your color correction using LUTs.
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