Luke Ross helps you master every Base Grade operator control in Baselight - and challenges Resolve users to figure out equivalent operations.
Learn the Conform tool in Baselight. Luke Ross solves importing a problematic EDL and eye-matching reference clip using two play heads.
Jason Bowdach shows why you might use Topaz Video AI for difficult video manipulation tasks such as upscaling, retiming, and stabilization.
Are AI tools taking over our world? Tour some of RunwayML’s 'AI Magic Tools' and see if the results match the hype and can replace a pro.
Fill a vertical 9:16 image into a 16:9 horizontal frame - by painting it in using RunwayML.com's 'Infinite Image' machine learning tool.
Learn to leverage GoPro labs firmware and Resolve colorspace transforms to color manage footage from the new Hero 11 cameras in 10 bit log.
Colorist Joey D’Anna gives an extended review of DaVinci Resolve for iPad Beta, how it differs from the desktop, and what it may excel at.
Luke Ross wraps our 20-part introductory series on color grading with Baselight (and the free Baselight LOOK) on how to create deliverables.
Image repair and dust-busting are frequent duties of colorists & finishers. Learn how Baselight's DSpot and Paint tools perform these fixes.
Colourist Luke Ross is back with Part 18 of his 'Learning Baselight Look' series. Learn how to fix oversaturated and out-of-gamut colours.
Special Guests Scott Simmons and Jonny Elwyn join Joey D'Anna and Patrick Inhofer to discuss moving between NLEs as a professional editor.
In Part 17 of our series, Luke Ross shows how to stabilize footage in Baselight Student / LOOK using the Area and 2-point trackers.
In Part 16 of our 'Learning Baselight' series, Luke Ross compares grade versions using Baselight's powerful 'cursor' and Jobs manager.
Mixing Light Contributors talk with Hedge.video's Isaac Terronez about affordable remote collaboration using Postlab and Postlab Drive.
In Baselight Student, learn how to copy and paste grades to shots & scenes, including the ‘intelligent paste’ & using the Playback Filter.
In Part 13, Luke Ross teaches you how to track shapes manually, using keyframes, and automagically, using Baselight Student's area tracker.
In Part 12 of this series, learn to apply and manipulate shapes to grade layers and use the MatteTool for the ultimate in shape edge control.
Team Mixing Light helps our members work through confidence problems color grading skin tones, drones, and laptop displays in a live call.
In Part 2, Arthur Ditner digs into various workflows helping you sidestep a few issues while thinking through color management.
In Part 11 of 'Learning Baselight Student', Luke Ross teaches how to stylize your images with popular techniques and customizable tools.
Luke Ross teaches you how to use Blending Strips in the free Baselight Student. Plus, go down the rabbit hole of the Blending Control Panel.
Welcome Arthur Ditner as a new Mixing Light Contributor! Learn about Fusion Connect with Avid Media Composer - its strengths and limitations.
In Part 9, you are ready to start color correcting! Learn how Baselight arranges your corrections using and interacting with layers.
In Part 8 of our series, learn the three colour space options that are essential to correctly colour grading in Baselight Student.
Learn essential features of Baselight's 'Shots View' to prepare a scene for grading, including the 'Group Grading' hotkey for bulk changes.
Luke Ross shows you how to add edits into a single video file, breaking it into individual shots for easy color grading in Baselight Student.
In Part 4, dig deeper into setting up a Baselight 'Scene'. Some options can't be changed later and others will force your media offline.
This Insight provides an orientation on the Baselight Student user interface. Plus, learn the terms Host, Job, Scene as used by Baselight.
New Mixing Light Contributor Luke Ross kicks off a 20-part series on learning Baselight Student, for newbies and experienced colorists alike.
Colorist Joey D'Anna shows how to set up and use the open-source software 'Syncthing' to share media across three remote locations.
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
Learn how to painlessly create end titles, how they can go wrong, and the new Endcrawl.com interface allowing for custom looks and layouts.
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.
In this Insight Robbie takes a look Screen and affordable, color managed video player for the Mac from Video Village.
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.
Take an introductory look at the Color Decision List (CDL) and learn about the strengths and weaknesses of an ASC-CDL based workflow.
My list of key software utilities for post production professionals may help you a solve annoying (or critical) problems. For Mac & Windows.
Mixing the R, G, and B colour channels is a versatile color grading technique. Using Resolve's RGB Mixer, learn its simplicity - and power.
How much does it cost to get into LTO-7 and LTO-8 backup? What's the benefit of using specialty software PreRollPost to handle your archives?
Colorist and finisher Jason Bowdach shows you how the Vidchecker Quality Control software works, and if he thinks it is worth the investment?
Take charge of all the audio sync functions from inside of Silverstack XT and LAB! Learn manual and automatic double-system sound sync.
The Sound Library feature released with DaVinci Resolve 15 Public Beta feels very incomplete, and how I think it needs to improve.
It's been a little over a month since NAB 2018. We discuss what we saw including Resolve 15, new HDR monitoring, control surfaces and more.
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.
Dan shares the tale of his attempt at grading long-form reality television after spending 10 years being a pampered commercial colorist.
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.
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.
FCPX 10.4 update introduces some long-awaited color correction features, like wheels and curves. This Insight reviews the standout points of this new color correction toolset - and gotcha's you should understand.
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.
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?
Learn how to improve your display calibration results when using CalMAN Studio. And does using a 'Lightning LUT' compromise your final results?
Begin learning how to calibrate your color correction Reference Display by seeing how to calibrate your colorimeter for highly precise measurements.
When you start delving into the finer points of color correction you'll eventually learn about Gamma 2.2 vs Gamma 2.4. Learn how to choose between them.
Like flying cars, the 'Studio' concept of post-production was promised for generations. At NAB 2017 we have the first actual implementation in Resolve 14.
Get a tour of essential software a DIT uses on-set to execute the important tasks of handling (and handing-off) metadata, playback of clips and transcoding.
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.
Does it matter if the director, actors or cinematographer are awesome - if the camera data is corrupt or lost? Tools for DIT happiness...
If you move your timeline from one bit of post-production software to another then you need to know the 'Golden Rule of Conforming'.
Apple provided a much needed glimpse into their thinking about the Mac Desktop. But does it bode well for video post-production professionals?
First Look: How to use the Color Finale Pro plugin with a Tangent Ripple in FCPX for a professional grading workflow.
Take a close look at the unique (and intuitive) HSL Keyer in Red Giant's Colorista III color correction plug-in.
Neat Video is a popular noise reduction plugin for a variety of platforms. In this Insight Robbie explores the plugin now in version 4.
Learn from a professional colorist how to select a color correction plug-in for FCPX. What are main features you should be looking for?
Watch an overview of how a professional colorist uses Magic Bullet Looks 3 to jump-start the 'look creation' process.
Learn the ins and outs of the Koji Advance Film Emulation Plug-in in this video. Learn how to use it and some of its unique options.
An video overview of Nattress Levels and Curves for FCPX. It's a suite of four plug-ins for Curves-like image manipulation from FX Factory.
A video tutorial, overview and breakdown of the Hawaiki Color and Analyzer color correction filters for Final Cut Pro X.
Learn what a professional colorist thinks of Colorista III - and what's the problem with the current version (1.0.3).
A tutorial and overview of using Colorista III in Final Cut Pro X. Learn how all it's tools work and why you might want to buy and use it.
This is a video overview and breakdown of the FCP X color correction plug-in 'Color Finale'
How to use shape masks when creating Looks in FCP X with the 10.2 update.
After shot matching comes Look creation. This is Part 1 on how to create Looks in FCP X 10.2 without using 3rd party plug-ins.
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. Learn a workflow for consistently matching shots in Final Cut Pro X.
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.