The Resolve 18.1 update added the Resolve FX 'Surface Tracker' plugin to the Fusion page. Learn how this vastly simplifies beauty retouching.
DaVinci Resolve 18.1 is a feature-rich update. Colorist and finisher Joey D'Anna offers his list of impactful features - that aren't obvious.
Crepuscular rays (God Rays) are a unique natural phenomenon. Learn how to quickly emulate this effect using Resolve's 'Light Rays' plugin.
Learn how to get a physically realistic glow-like effect by manipulating the properties of Aperture Diffraction's “virtual” iris.
In Part 2 of Jason Bowdach's series on glow effects, get a close look at the Sapphire S_UltraGlow and the additional options it offers.
Glow effects are versatile - but you can waste time fiddling with their controls. Learn how to work with the Glow Resolve FX, intentionally.
In Part 2, Igor Ridanovic leverages the stabilization work of the new Surface Tracker plugin to execute beauty work on the Fusion page.
Resolve 18's Surface Tracker combines a multiple-point tracker and a warper in one tool. Learn how it works while prepping a retouch job.
In Part 3, learn how to go beyond LUTs for an artistic approach to emulating film print looks using Paul Dore's DCTL in an ACES workflow.
In Part 2, Arthur Ditner digs into various workflows helping you sidestep a few issues while thinking through color management.
This is our first Office Hours Livestream. Four Mixing Light Contributors take and answer questions from members in a livestream.
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!
Colorist Cullen Kelly finishes off coding a split-toning Resolve DCTL plugin with a visual overlay showing how the RGB channels are modified.
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.
Colorist Cullen Kelly finished defining his Davinci Resolve DCTL plugin. Learn how he tweaks the interface, eliminating 'dead zones.'
DaVinci Resolve 17.4 is a substantial update. Colorist Joey D'Anna explores his favorite features, big and small, on the Color & Edit Pages.
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.
Colorist Patrick Inhofer shares a behind-the-scenes look at color grading an animated short film - and how it differs from live action.
In part 6 of his ongoing series, Cullen Kelly explores how to combine two separate DCTLs for increased user functionality without adding complexity.
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.
In this Insight, Joey D'Anna shows you how to use the DaVinci Resolve Match Move ResolveFX plugin for powerful tracking, stabilization, and paintwork
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.
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.
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.
In Part 2 of his series on coding DCTLs, Cullen Kelly covers some additional setup and tools you'll need to successfully build DCTLs
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.
Expand your colorist toolbox with custom Python scripts and DCTLs for Frame.io workflows, subtractive saturation, and timeline duplication.
Watch over the shoulder of senior colorist Cullen Kelly as he works through his first pass on a feature film and shares his approach.
Learn how to massively expand the functionality of Premiere's Lumetri panel by custom-mapping multiple disparate controls with an external control surface.
Learn how to use DCTLs (and texture references) in DaVinci Resolve Fusion to debayer Perseverance rover raw images, yourself.
Get an overview of how you can create your own 'plug-ins' for DaVinci Resolve's Edit Page with its new Fusion Effects functionality.
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.
See the MochaPro OpenFX plugin in action to track and remove a logo on a car door - and finish / refine the composite in Fusion.
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
Learn how to use the flexibility of Adobe Premiere to overcome the limitations of its native color correction toolset using control surfaces.
Learn how a pro colorist is integrating the Resolve 'color space transform' plugin into his fixed node tree to get better results, faster.
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.
Do you want to remove artifacts from dirty lenses or remove objects that are distracting. These ResolveFX can help you, in Resolve Studio.
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.
Learn how to set up your physical workspace for quick color grading in Adobe Premiere Pro. Plus, optimizing the software for your workspace.
Did you know Premiere Pro CC 2019 has three project types? Standard, Shared, and Team. How do you choose & what are their differences?
Do you perform repetitive tasks on a regular basis when color correcting or finishing? Then learn how to use DCTLs to automate those tasks!
Lumetri color correction in Premiere Pro 2019 has changed dramatically: What is new? Is it improved? And how useful is it?
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.
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.
Dan shares the tale of his attempt at grading long-form reality television after spending 10 years being a pampered commercial colorist.
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.
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.
The Team fields a member question about how we set up the sensitivity of our colorist control surfaces? How do we decide?
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
In this Insight, we take a look at some of the compelling new features in DaVinci Resolve 14 including OFX, performance and editing improvements.
In this episode of the colorist podcast, Josh talks to Technicolor senior colorist Peter Doyle about his amazing career & many other subjects
In Episode 5 of the Colorist Podcast, Josh talks to well-known online editor & colorist Terence Curren about his work & other sujbects
Every once and a while you'll need to create a stylized bad TV or surveillance camera look. In this Insight learn how.
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 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 is a popular noise reduction plugin for a variety of platforms. In this Insight Robbie explores the plugin now in version 4.
How do you stay creative when you're not feeling creative? Learn how one professional is always finding opportunities when color correcting.
Using windows and shapes for masking areas and localised corrections are essential when grading! Learn how it works in Baselight for Avid.
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 video tutorial, overview and breakdown of the Hawaiki Color and Analyzer color correction filters for Final Cut Pro X.
Dan shares his first thoughts on making primary corrections using the Baselight for Avid color correction plug-in.
With LUTs so common place in modern color grading sometimes you need to visualize and convert them - Lattice can help!
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.
In this episode of From The MailBag, learn about Resolve 11's new broadcast safe option & how to use LUTs while Grouping.
Frequently we need to make blown-out highlights in our videos look intentional. I demonstrate doing that using Lens Flares from Sapphire 7.
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.
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...