Learn how to avoid two problems when color correcting using Premerie Pro's Lumetri workflow. It's all about recovering clipped detail.
Team Mixing Light continues the advice theme of recent episodes and discuss the best advice that we've received that's helped our color correction careers. From attitude to technical and creative advice it's all helped each of us have successful careers.
In this installment of From The MailBag, the team discusses their 2018 NAB teaching plans and where to find Patrick on the show floor, and then we answer a members question about using a Harris DL860.
If you want to calibrate your reference display through your main non-linear editing software then you want to use calibration test patterns playing through a timeline. Learn how to be sure you don't have Data- and Video- level mismatches.
White balancing is a basic color correction task. And Temp or Tint controls are often a time-saving shortcut. But they don't always work. Learn why?
How do you save a shot that has exposure changes and compression artifacts? Patrick shows you how he does it, with footage you can download.
If you use DaVinci Resolve to color correct with Color Charts then should you change your workflow in DaVinci Resolve 14? The answer isn't simple. Or is it?
Does it matter if the director, actors or cinematographer are awesome - if the camera data is corrupt or lost? Tools for DIT happiness...
DaVinci Resolve's 'Color Match' function is simple but can be confusing. Learn how to properly set up Color Match in ACES workflows.
Watch how to White Balance (or Color Balance) digital video images. You'll explore 4 different tools and learn their differences.
In an earlier video we showed you the 'mouse math bug' when color correcting in DaVinci Resolve—now learn how to work around it.
Does the color correction math in DaVinci Resolve change depending if you're using a mouse versus using a colorist control surface?
If you're color correcting digital video for professional distribution, nothing is worse than having it rejected for RGB Gamut excursions!
If you're looking for ideas on controlling excessive saturation in DaVinci Resolve, this tutorial will offer some food for thought.
Get a look at the new features in Premiere Pro CC 2015.3 for existing color correction tools, including the Lumetri Effect.
DaVinci Resolve Studio Exclusive Features Version 12.5 Marks New Thinking About ‘Resolve Studio’ Whenever a major new version of DaVinci Resolve is released, the first thing I do is print…
Shot matching in Premiere Pro CC is the second step in The Color Correction Protocol. Learn how to stack filters and get the job done!
Learn how the 'data levels' and 'video levels' Project Setting effects your external scopes when color correcting in DaVinci Resolve.
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.
The Waveform & RGB Parade are essential tools for color correction. But when working with HDR footage in Resolve reading them can be slightly confusing.
Understand how the Lumetri Color Tools work in the latest version of Premiere Pro CC. Plus learn about a potential flaw in these tools.
The Lumetri Color Panel is a huge technical and workflow boost in Premiere Pro CC 2015. Learn why, and how to use the Lumetri Color Panel.
Learn how to create custom workspaces for speeding up your color correcting in Premiere Pro CC.
File based or software video legalization can be hard. Check out this Insight to see how EyeHeight is making video legalization simple
In this Insight, learn what RGB Gamut errors are and how to identify them before a broadcaster catches them for you!
In this Insight learn about the recently announced Lumetri Panel & other color improvements in Premiere Pro CC 2015
Do you have trouble with shot matching while color correcting video? This tutorial will show you a reproducible workflow for any software.
Shot matching is one of the most difficult color correction techniques to teach. Learn a workflow matching shots in Final Cut Pro X.
In this installment of From The Mailbag, we discuss using grain as an external matte on a still & broadcast safe workflow.
Do you find it difficult to make precise Final Cut Pro X color balance decisions? This video tutorial will give you ideas for fixing that.
Part 3 of a series on how to use the DaVinci Resolve 11 'Color Match' tool. In this video, learn how to build your own Color Match node.
Learn how to match shots in Final Cut Pro X using its unique interface. Part 4 of this series on how to color correct in Final Cut Pro X.
DaVinci Resolve's 'Color Match' feature can be tricky. But if you follow the 'Brightness First' Rule, you'll probably get better results.
If you've tried to match multiple cameras together using color charts, you've likely found it difficult. What's the problem you're having?
How do you know if your images are colorful enough? When's the best time to set your saturation in Final Cut Pro X? Find your answer here!
In Part 5 of our LAB in DaVinci Resolve series, we answer members questions about dealing with saturation in LAB colorspace.
In this episode of From The MailBag, learn about Resolve 11's new broadcast safe option & how to use LUTs while Grouping.
Shot Matching - Matching Skies. In this Insight, Dan shows you his techniques for color matching skies between multiple set ups and scenes
Learn how to quickly create an S-Curve using the Contrast and Pivot controls in Resolve to add more filmic contrast to shots
In this video we try matching shots with LUTs applied - and show how using the RGB parade helps us get the job done.
Learn how Hard Clipping in DaVinci Resolve can help you legalize your video for Broadcast. And the dangers of using it indiscriminately.
Legalizing Video with DaVinci Resolve can be done in several ways. In this video we show you how to do it Shot-by-Shot.
A hardware video legalizer like the Harris DL860 does a much better job than software legalization. Learn more about how this unit works.
If you're wondering how to legalize video levels in Premiere Pro CC, this article is for you. Part of a series on legalizing video levels.
If you're wondering how to legalize video in Speedgrade CC, this video will show you.
In this video learn how a professional colorist configures the affordable software scopes, ScopeBox, for image evaluation to speed up color correcting.
When is the right time for going freelance as a Colorist? Do scopes work with RAW? We answer Member questions in Episode 6 of our Podcast.
Are you looking for ideas on how to color correct the Blackmagic Pocket Camera? I share how I work with it in DaVinci Resolve.
Have you ever been asked to color match a shot to a reference image for their video? Here are a few ideas on how to do that in DaVinci Resolve.
In this podcast, Team Mixing Light answers two member questions: How do we set up our color correction suites? How do you set up monitoring in 4:4:4?
If you're looking for scopes to use with Adobe's Premiere Pro, After Effects or Apple's Final Cut Pro - check ScopeLink, a powerful feature of ScopeBox.
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