Team Mixing Light helps our members work through confidence problems color grading skin tones, drones, and laptop displays in a live call.
This is our first Office Hours Livestream. Four Mixing Light Contributors take and answer questions from members in a livestream.
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 this webinar, learn an alternative approach to color grading ACES projects in DaVinci Resolve plus collaborating with others in ACES.
You can't network together your on-set production gear if you don't understanding IP networking. Get started with the basics: The IP Address.
A professional DIT shares gets us up to speed on the ARRI's large format mini camera. Plus, learn about its unique ProRes codec.
Learn how to create, export, and import ASC-CDL compliant color grades using DaVinci Resolve. Plus tips and tricks with CDL data.
Pat, Robbie and Mixing Light Contributor Joey D'Anna discuss what can DPs and onset staff do to make the final color grade easier?
In this Insight, learn about the basic design of the Lumaforge Jellyfish Mobile, and why it might be a perfect solution for your set-up.
Summer 2018 round-up of don't-miss color correction tutorials from other websites (with commentary). We wish we had them here, first.
Take charge of all the audio sync functions from inside of Silverstack XT and LAB! Learn manual and automatic double-system sound sync.
Silverstack is much more than just for downloading. Learn how to use its in-built color correction tools and management system to enhance the previsualization process and to visually communicate the DP's ideas from on-set color to post.
Colorist & DIT Ryan Nguyen continues his series on Pomfort's Silverstack with a deep dive on the Offload Wizard. Including saving and managing offload templates, using wildcards to create custom offload directories and evaluating download progress in the Jobs Sheet page.
In this second insight of a series with Pomfort Silverstack, you take a first-contact look at the user interface to overcome the initial fear of learning a new software. Explore the various layouts and workspaces available to better understand how you navigate the program.
As a DIT, at some point you will be asked, "What hard drive do you recommend for our shoot?" Before you answer, ask yourself: Is your favorite hard drive the proper drive for THIS job?
In Part 1 of this series, get an overview of Pomfort's Silverstack, its various versions, and subscriptions; plus learn the difference between Digital Imaging Technician (DIT) and Digital Loader.
We all fail. The trick is to learn how to learn from our failures; by setting up a system for honest evaluation that serves you, years into the future.
If you need to buy a high-performance video post production computer today, then you're looking at a PC. Here are more answers to questions of Mac users.
Rich Roddman C.S.I. shows how he sets up his Cart for on-set color correction... and the thinking behind his choices.Part 4 of a DIT series.
Do you want to be a Digital Imaging Technician (DIT) on film or video sets? Learn how to outift your DIT cart (and why it matters).