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Office Hours Live Stream - Color Management (and much more)
This is our first Office Hours Livestream. Four Mixing Light Contributors take and answer questions from members in a livestream.
Live Call - Coding DCTLs Wrap-Up Discussion with Cullen Kelly
Cullen Kelly wraps his 10-part intro series about Coding DCTL. It's a live Q&A session answering questions, while Cullen learns something new!
Creative Coding with DCTL Part 9 – Adding A Visual Curve Overlay
Colorist Cullen Kelly finishes off coding a split-toning Resolve DCTL plugin with a visual overlay showing how the RGB channels are modified.
SDR To HDR - Working With Graphics In Node-Level Color Management
In part two of his series, Colorist Joey D'Anna shows you how to color manage graphics when trimming a project from SDR up to HDR.
Creative Coding with DCTL Part 8 - Refining UI Parameters
Colorist Cullen Kelly finished defining his Davinci Resolve DCTL plugin. Learn how he tweaks the interface, eliminating 'dead zones.'
Resolve 17.4: My Favorites From A Huge Release
DaVinci Resolve 17.4 is a substantial update. Colorist Joey D'Anna explores his favorite features, big and small, on the Color & Edit Pages.
Creative Coding with DCTL Part 7 - Adding Split Toning
In Part 7, Colorist Cullen Kelly shows how to add split-toning into the custom DCTL. Then he debugs and commits it to the main GitHub branch.
Color Grading An Animated Short Film - Part 1
Colorist Patrick Inhofer shares a behind-the-scenes look at color grading an animated short film - and how it differs from live action.
Creative Coding With DCTL: Part 6
In part 6 of his ongoing series, Cullen Kelly explores how to combine two separate DCTLs for increased user functionality without adding complexity.
Working Around the ACES ‘Look’ With OpenDRT
ACES is an extremely popular color management pipeline but its RRT can impose a ‘look’. In this Insight learn about OpenDRT & how to implement it.
Match Move ResolveFX: A Color Page Multitool
In this Insight, Joey D'Anna shows you how to use the DaVinci Resolve Match Move ResolveFX plugin for powerful tracking, stabilization, and paintwork
Creative Coding With DCTL: Part 5
In part 5 of his ongoing series on coding DCTLs, Cullen starts to get into the thick of the tool he's creating - exploring how to define and code contrast.
Creative Coding with DCTL: Part 4
In part four of his ongoing series on creating DCTLs, Cullen Kelly builds upon work done to create a static DCTL by adding user adjustable controls.
Creative Coding With DCTL: Part 3
In part 3 of this ongoing series, with foundational knowledge in place, start coding your first DCTL a colorist Cullen Kelly guides you step by step.
Creative Coding With DCTL: Part 2
In Part 2 of his series on coding DCTLs, Cullen Kelly covers some additional setup and tools you'll need to successfully build DCTLs
Creative Coding With DCTL: Part 1
Cullen Kelly kicks off a new exciting series about DCTL coding. Learn the vocabulary, syntax, and techniques to create DCTLs to aid your color grading.
Joey's Custom Workshop: Solving Problems Using DCTL and Python
Expand your colorist toolbox with custom Python scripts and DCTLs for Frame.io workflows, subtractive saturation, and timeline duplication.
Inside the Grade: The First Pass On A Feature Film
Watch over the shoulder of senior colorist Cullen Kelly as he works through his first pass on a feature film and shares his approach.
Building A Custom Color Grading Toolkit in Premiere Pro
Learn how to massively expand the functionality of Premiere's Lumetri panel by custom-mapping multiple disparate controls with an external control surface.
How Can You Color Process Mars Rover's Images In DaVinci Resolve?
Learn how to use DCTLs (and texture references) in DaVinci Resolve Fusion to debayer Perseverance rover raw images, yourself.
Creating Your Own Fusion Effects Plug-ins with DaVinci Resolve 17
Get an overview of how you can create your own 'plug-ins' for DaVinci Resolve's Edit Page with its new Fusion Effects functionality.
Resolve 17: Big Little Features Part 1 - The Color Page
Sometimes, it's the small features making a huge difference! Learn new color page tools to speed up and improve your workflow in Resolve 17.
Using the Mocha Pro OFX Plugin in DaVinci Resolve Fusion
See the MochaPro OpenFX plugin in action to track and remove a logo on a car door - and finish / refine the composite in Fusion.
The 10-Minute Grade: Shot Balancing
In this installment of The 10-Minute Grade, Cullen Kelly walks you thru a few different techniques to quickly get shots balanced when time is of the essence
How Lumetri Differs From Resolve - And Why That Is A Good Thing
Learn how to use the flexibility of Adobe Premiere to overcome the limitations of its native color correction toolset using control surfaces.
Integrating Resolve's 'CST' Plugin with Fixed Node Trees
Learn how a pro colorist is integrating the Resolve 'color space transform' plugin into his fixed node tree to get better results, faster.
Revisiting Noise Reduction Part 2 - Digging Into Neat Video 5
Neat Video 5.1 is a powerful complement to DaVinci Resolve Studio's native noise reduction toolset. Get a close-uo look at Neat's workflow.
Removing Unwanted Elements Using ResolveFX Revival Plugins
Do you want to remove artifacts from dirty lenses or remove objects that are distracting. These ResolveFX can help you, in Resolve Studio.
Inside Pat's Color Grading Head - The Evolution of His Fixed Node Tree
Learn the benefits of a 'fixed node tree' in DaVinci Resolve. Get a look inside one colorist's node tree - and how it evolved over time.
How to Set Up Premiere Pro for Quick Color Grading Sessions
Learn how to set up your physical workspace for quick color grading in Adobe Premiere Pro. Plus, optimizing the software for your workspace.
What Project Type Should I Use to Edit and Color Correct in Premiere Pro?
Did you know Premiere Pro CC 2019 has three project types? Standard, Shared, and Team. How do you choose & what are their differences?
Using DCTLs And Expanding Resolve's Functionality
Do you perform repetitive tasks on a regular basis when color correcting or finishing? Then learn how to use DCTLs to automate those tasks!
Breaking Down A Black and White Film with a Violet Twist
Isolate an object in a black & white film, isolate its color, and use keys to shift hue, saturation, and gain. How hard can that be?
Premiere Pro CC 2019 - An Overview of The New Lumetri Interface
Lumetri color correction in Premiere Pro 2019 has changed dramatically: What is new? Is it improved? And how useful is it?
Creating A Western Look Using Color Space Transform & Emulation LUT
While creating a Western look, learn how to use a color space transform with a film print emulation LUT in DaVinci Resolve.
Elsewhere On The Web: Managing Saturation, Live HDR, Resolve Fusion (& more)
Summer 2018 round-up of don't-miss color correction tutorials from other websites (with commentary). We wish we had them here, first.
NAB 2018 Plans & Is My Harris DL860 Working Properly?
We discuss our 2018 NAB teaching plans and where to find Patrick on the show floor? We answer a member's question about the Harris DL860.
From The Grading Suite: From Short Form To Reality
Dan shares the tale of his attempt at grading long-form reality television after spending 10 years being a pampered commercial colorist.
Telestream Switch: A Media Player For Pros?
QC and media inspection are an essential part of 'finishing' process. In this Insight, Robbie shares his experience with Telestream Switch which is a full featured media player, inspector and QC tool.
Using Denoiser III On Challenging Footage (Compared to Neat Video)
Part of Magic Bullet Suite, Denoiser III has been rewritten from scratch. Its simplified UI makes it easy to use. But can we expect the same kind of results than a more expert plugin like Neat Video? Let's get a closer look and make comparisons.
Choosing Between ACES Or RCM? Plus, Control Surface Sensitivity.
The Team fields a member question about how we set up the sensitivity of our colorist control surfaces? How do we decide?
Creative Grading - Retro Sci-fi Look
Sometimes you have to go full cheese and pay homage to looks and films from the 70s and 80s. In this insight we create a retro Sci-Fi look
DaVinci Resolve 14: First Look
In this Insight, we take a look at some of the compelling new features in DaVinci Resolve 14 including OFX, performance and editing improvements.
Colorist Podcast Episode 09
In this episode of the colorist podcast, Josh talks to Technicolor senior colorist Peter Doyle about his amazing career & many other subjects
Colorist Podcast Episode 005
In Episode 5 of the Colorist Podcast, Josh talks to well-known online editor & colorist Terence Curren about his work & other sujbects
Bad TV: Essential Steps For Creating The Bad TV Look
Every once and a while you'll need to create a stylized bad TV or surveillance camera look. In this Insight learn how.
12 New Features in Resolve Studio 12.5 (that are worth paying to upgrade)
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.
Getting Grainy: 3 Different OFX Plugins
In this Insight Robbie explores 3 different OFX grain plugins for Resolve from Film Convert, Boris, and GenArts and explains which is his favorite and why
Neat Video 4 - Revisiting The Popular Noise Reduction Plugin
Neat Video is a popular noise reduction plugin for a variety of platforms. In this Insight Robbie explores the plugin now in version 4.
Finding Opportunities When Color Correcting
How do you stay creative when you're not feeling creative? Learn how one professional is always finding opportunities when color correcting.
Baselight For Avid - Using Windows and Shapes
Using windows and shapes for masking areas and localised corrections are essential when grading! Learn how it works in Baselight for Avid.
Baselight For Avid - Colorist Crash Course - MixingLight.com
In this insight Dan gives you a crash course on all the major tool sets that you need to know to start grading in Baselight
A Review of the Hawaiki Color and Analyzer for FCPX
A video tutorial, overview and breakdown of the Hawaiki Color and Analyzer color correction filters for Final Cut Pro X.
Baselight For Avid: Initial Thoughts on Primary Corrections
Dan shares his first thoughts on making primary corrections using the Baselight for Avid color correction plug-in.
Getting To Know Lattice
With LUTs so common place in modern color grading sometimes you need to visualize and convert them - Lattice can help!
First Look: Red Giant Universe in DaVinci Resolve 11
The Red Giant Universe suite of plug-ins is now available for Davinci Resolve. Here's our first look at this collection of 80+ plugins.
DaVinci Resolve 11: Broadcast Safe + Grouping LUTs
In this episode of From The MailBag, learn about Resolve 11's new broadcast safe option & how to use LUTs while Grouping.
How to make Blown-Out Highlights Look Intentional
Frequently we need to make blown-out highlights in our videos look intentional. I demonstrate doing that using Lens Flares from Sapphire 7.
Video Noise Reduction In DaVinci Resolve: The Neat Video OFX Plug-in
We explored video noise reduction in DaVinci Resolve 10 earlier. In this tutorial you look at the OpenFX plug-in, Neat Video, and compare the differences.
Video Noise Reduction In DaVinci Resolve: The Built-In Toolset
Explore DaVinci Resolve 10's built-in video noise reduction tools. It's available to paid owners Resolve 10. Should you upgrade? Watch Parts 1 & 2...
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.