In July I started the proecess of moving to Baselight full time for my grading. As a 10 year Resolve veteran I need to let go of the past
In this From The Mailbag, we discuss the current and the possible future of work from home & remote workflows + concerns that we might not be consindering.
In this From The Mailbag we revisit some key aspects of a Resolve remote workflow as we try to answer questions from a member on the same subject.
Do you doubt your ability to color correct moving images? Are you constantly re-doing your work? Learn what's going wrong and how to fix it.
In this episode of From The Mailbag we discuss a member's email about how he feels he should be landing bigger projects but isn't.
A Mixing Light member has color graded for an internal team for years. But how does he know if he's ready for outside client color sessions?
Learn how to use DaVinci Resolve to finish and output coutless versions of broadcast promos, easy fast and without any mistakes.
Learn about Cinematiq's DCP Transfer application for streamlining EXT2 DCP driver deliveries - without having to jump in the Terminal!
We take a look at Game Of Thrones Season 8, Episode 3 and ask, as creative professionals, was it too dark and where did it go wrong?
Team Mixing Light tackles a member's question on how to handle a DP who doesn't trust any monitor in a facility?
Getting paid quickly is a key part to running your own business. In this Mailbag we discuss strategies for getting paid on-time.
In this Insight, Robbie looks at 5 pre-grade tips that can help you increase your overall session speed when it comes time to grade a project.
Adobe re-built their Video Limiter Effect in Creative Cloud 2018. Can you trust the new effect to remove gamut excursion errors that will fail you in QC? This video Insight answers that question.
Dan Moran recently joined the freelance world. He's curious how Pat and Robbie handle a client who rejects a grade - fix it or charge more?
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.
In this installment, Josh talks to Digital Film Tree lead colorist Patrick Woodard about color correcting high-end TV, remote sessions, ACES and more!
Now that most people have a basic knowledge of color correction thanks to Instagram what does that mean for us colorists?
In part 2 of this ongoing series, Robbie explores using Streambox's Hybrid Encoder for remote sessions plus some additional gear.
In this installment of Color Correction Gear Head Robbie talks about some recent gear & software finds to make life in the color suite easier
Want to make a DCP directly from Resolve? In this Insight, Robbie explores the essentials of using the EasyDCP Resolve plugin.
In part 1 of a 3 part series, we explore the different methods of remote grading and how remote work can help your bottom line.
If you move your timeline from one bit of post-production software to another then you need to know the 'Golden Rule of Conforming'.
In this installment of Color Correction Gear Head we take a look at the Pascal Titan X GPU, LG B6 OLED, & some fantastic Focal Speakers
In this Insight, discover 5 strategies for convincing clients to grade with you rather than color correct projects in-house.
You always deliver final video files but should you deliver project files to your clients too? Learn more in this Insight.
The question of how to commercials look so good crops up constantly. Dan shares the in and outs of a grading session to show you how