Learn how to use shading layers, add intro/outro animations, and package your Fusion animation as a *.drfx template for easy sharing.
Colorist Patrick Inhofer shows you the three different and distinct behaviors of DaVinci Resolve's two Contrast-Pivot controls.
Explore how to get better results from Resolve’s Film Looks LUTs by leveraging the ACES ADX standard — even if you're not grading in ACES!
VFX specialist and trainer Bernd Klimm joins Team Mixing Light shows how to create a custom Fusion title template to use on the Edit Page.
Sometimes you want to 'open up' the shadows as if you added a bounce card or fill light to the scene. Custom curves make this easy.
In the final episode of his 'Flexing Fundamentals' series, Cullen Kelly shows how to color balance more efficiently by thinking differently.
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 3 of Cullen Kelly's 'Flexing Fundamentals' series, learn how to think about organizing contrast adjustments to improve your results.
Glow effects are versatile - but you can waste time fiddling with their controls. Learn how to work with the Glow Resolve FX, intentionally.
Learn why colorist Cullen Kelly loves Contrast-Pivot for his contrast adjustments - and how you can upgrade them for more nuanced control.
In Part 13, Luke Ross teaches you how to track shapes manually, using keyframes, and automagically, using Baselight Student's area tracker.
In Part 3 of Hector Berrebi's 'Texture Management' series, learn what blur is doing to your images and build an Unsharp Mask using nodes.
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.
Are you adding RGB artifacts into images when sharpening? How is Midtone Detail different (in DaVinci Resolve)? Plus, sharpening in LAB space.
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 the start of a new series, colorist & educator Hector Berrebi defines the terms and tools of the important concept: Texture Management.
Continue developing your critical eye for evaluating Film Print Emulations (FPEs) by breaking down Pixel Tools Post's 'Film Lab PowerGrades'.
In this new series, build the foundation to evaluate & implement ANY Film Print Emulation (FPE) - with the Kodak 2382 film stock as baseline.
In this installment of 'From The Mailbag' Team Mixing Light discusses Patrick & Dan's newest HDR projects &the challenges they faced.
In this Insight, Joey D'Anna shows you how to use the DaVinci Resolve Match Move ResolveFX plugin for powerful tracking, stabilization, and paintwork
Watch over the shoulder of senior colorist Cullen Kelly as he works through his first pass on a feature film and shares his approach.
In this installment of Good Grades we sit down with renowned documentary colorist Evan Anthony and talk about his start, work and more!
In Part 2 of his series, Cullen Kelly takes a look at dialing in the contrast curve for a look with the new HDR Zone tool in Davinci Resolve 17.
A member asked for some advice on matching two shots that had distinctly different looks. In this Mailbag, we discuss strategies for matching these shots.
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.
Learn how to insert 3D objects or paint out defects in videos with a moving camera using DaVinci Resolve Fusion's 3D Camera Tracker.
In this Insight, Joey D'Anna shows you how he uses the DaVinci Resolve color page node tree to build great looking green screen composites.
Cullen shows how to put the analysis of reference images + analysis of shots on the timeline together to create a cohesive, matching look.
In Part 2 of this advanced workflow series, learn how you can use Shared Nodes inside Group Grades for quick & easy revisions down the road.
Learn how to accelerate your color grading in DaVinci Resolve's Color Page by using multiple Playheads to quickly navigate the timeline.
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 the second part of his series on better blurring, Joey jumps into Fusion to explore its powerful capabilities to create natural-looking blurs.
Learn powerful keyframe editing techniques in DaVinci Resolve's Fusion page, using the built-in spline and keyframe editors.
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
If you want to master DaVinci Resolve's Color Page then you need to master its Cloud and Point trackers. This Insight sets you on that path.
In the first installment of a new series, Cullen Kelly shares his strategies for quickly getting a grade on its feet by creating global contrast
Learn DaVinci Resolve's Stabilizer and its legacy 'Classic Stabilizer'. This Insight is pulled from our Courses with a new introduction.
Working with new cameras is always a challenge. Get an inside look at what Dan does when working with the Fuji XT-3 camera
Learn two different methods (with different levels of control) of emualting the beauty of film halation using DaVinci Resolve.
Learn how to use DaVinci Resolve to finish and output coutless versions of broadcast promos, easy fast and without any mistakes.
Dan answers some comments from members about why he adds his grain to the image at the very beginning of his node graph
Dan cracks open another project fresh from the grading suite. In this part we take a look at the Spectachrome brief & project organisation.
Learn how to set up and use Resolve Fusion's point- and planar- trackers. You'll deal with occlusions and see a powerful tracking technique.
Dan shares his breakdown of cleaning up a bike frame using the color compressor and node resizing in Resolve
Dan shares his thoughts behind his solution to removing a reflection using Resolve's Color Page - on a 16mm shot with moving grain structure.
What's harder than faking a VHS-look from a high-end camera? Intercutting that look with actual crummy VHS. Learn one way to do it.
Every year Dan looks back at the previous year and shares his greatest successes. This year, he focuses on his most memorable jobs.
In Part 1 you learned how to build a Fixed Node Structure in Resolve's node tree when color grading. Now learn its huge time-saving benefits.
Learn how to deconstruct a pre-built Fusion animation that ships with DaVinci Resolve. After studying one, we revise our animation to match.
Dan is back in part three of his unfiltered look at a recent grade. In this part we take a look at matching the externals in this 16mm style
Dan picks up where he left off in this series on real time grading a music video. In part 2 we look at the noisy internal scene.
DaVinci Resolve's Fusion page is intimidating. In this video, learn an easy way of getting into Fusion, with a simple Text animation.
Drone footage adds tons of production value to projects. But the cameras often suffer from over-sharpening. Get tips for fixing this problem.
Mixing the R, G, and B colour channels is a versatile color grading technique. Using Resolve's RGB Mixer, learn its simplicity - and power.
Do all saturation controls behave similarly? Or are there subtle differences that add new arrows in your quiver of saturation controls?
Dan shares the opening part to his full unfiltered look at how he graded a music video in a 16mm film style.
Dan shares his thoughts on trying to clean up his grades in 2019 and moving away from his favourite film emulation techniques.
Learn how to get your Resolve Fusion composition into 3D space. Also, learn how false perspective is created and 3D cameras are animated.
In this Insight, Dan shares his approach to creating a classic 16mm Film Emulation that he used on a recent music video.
Dan shares his technique of using the multiply blending mode to recover highlights easily and naturally via a layer node.
Dan shares his 90s video review and his attempt at going bold, bright soft and crushed in this grading challenge.
Dan kicks off a new grading challenge where he plays your client. It's based on a 90s pop video style color grade he recently recreated.
Drone footage is a very common occurance on timelines these days. Dan shares his techniques for adding depth to the footage.
Sometimes we are gifted with better sun than other times. In this Insight Dan shares his experience on a job shot over multiple months.
Summer 2018 round-up of don't-miss color correction tutorials from other websites (with commentary). We wish we had them here, first.
Learn how to track DaVinci Resolve 15's non-destructive paint tools in Fusion. Plus, get a tip for viewing a color grade inside Fusion.
Dan shares a tale of things going a bit wrong on a live concert grade w/ high powered LED lights and how moving over to ACES solved things.
In this Insight, Robbie explores 10 things he's learned in 3 years of grading HDR and how his recent experiences have informed his view on HDR.
The only person that is going to inspire you is yourself. A Look Library surrounds you with inspiration keeping you motivated and current.
Now that DaVinci Resolve is gaining tools by the month, Dan takes a look at managing the node graph to keep things organised and flexible - with the goal of allowing for quick changes.
We discuss the best advice we've received for our color grading careers. From attitude to technical to creative, we share what's worked.
What makes an award-winning grade so special? Dan attempts to break down what made the Lacoste, Timeless commercial so special and how we can pick up some tips to use on our own grades.
We've got lots of questions from members asking how to get started as a professional colorist and how has grading changed over the years?
Sometimes even offering the smallest level of beauty work for a client can go a long way. Learn quick skin-smoothing / eyebag-reducing tips .
In this installment of the Color Correction Gear Head series, Robbie takes a look at the 2018 LG OLEDs (C8), the HD Fury Integral 4k, Aja 1616 12G Router, OWC Mercury HeliosFX and remote control application Splashtop.
We've all seen amazing commercials and films that inspire us, but how do we turn that into color corrections that we can use on our own projects? Dan shares his approach to being inspired by a recent award-nominated color grade.
In this special edition Mixing Light Podcast, Technical Evangelist Tyler Pruitt joins Robbie to discuss LG's 2018 OLED monitors and various calibration issues like metamerism, colorimeter matrices and more!
While Fusion is a node-based compositor, its node tree is very different than the Color Page. Learn how to use Fusion in DaVinci Resolve 15 in under 15 minutes.
In this Insight, colorist Joey D'Anna, fresh off demoing Resolve 15 at the Blackmagic booth at NAB 2018, shares his thoughts on the top new features that benefit the dedicated colorist the most in Resolve 15.
In Part 2 of this series you learn two different ways of using DaVinci Resolve's Parallel Mixer node. We take the theory from Part 1 and put it into action on real footage (from one of our Color Correction Practice Projects).
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.
No, that's not Déjà vu! We're re-revisiting multi-channel audio output in DaVinci Resolve! In Part 1 of a new series, we'll explore the essentials of multi-channel output including using the 'Timeline Tracks' method, The Link Group behavior, and basic bussing.
A member asks about grading on a direct view monitor vs. the cinema. We discuss the differences and why overcomplicating it is a bad idea!
In this installment of the Colorist Podcast, Josh sits down with colorist, trainer and industry visionary Dado Valentic to discuss his much talked about presentation on color grading and AI, HDR workflow, on tools for colorists and more!
DaVinci Resolve's automatic syncing of multiple cameras for its multicam editing workflow often fails. Learn how to reliably re-sync cameras after creating a multicam clip.
Team Mixing Light discusses strategies for moving Resolve PowerGrades, PowerBins & project configurations between databases.
In this new series, Dan is showing a real-time grade of the bread short film he graded recently. Shot in less than ideal conditions with natural light on a compressed camera, it's a great chance to see the good the bad and the ugly from the grading suite.
In this Insight, Dan covers another of his behind the curtain commercials. This time we look at a bright morning kitchen scene. In this real-world assessment and grade, Dan focuses on getting a bright airy feel without losing on the filmic sense.
In this video, you learn techniques for color correcting log encoded white cyc footage. Plus get several solutions for fixing common problems with these types of shoots and why, many times, your corrections are a compromise.
Dan returns to his Behind The Curtain series with a real-time insight that shows his approaches to this commercial grade. He covers primaries, look theory, shot matching and Look refinement.
One of our members asks about backing up Resolve databases and computers. This is an essential skill for colorists, listen to how we do it.
In this episode, Josh talks to Shane Mario Ruggieri, C.S.I. from Dolby. Learn about HDR from the colorists perspective, Dolby Vision, HDR 10, grading HDR and SDR and more! If you're interested in HDR this episode is a must listen!
Dan shares the tale of his attempt at grading long-form reality television after spending 10 years being a pampered commercial colorist.
Dan shares his assessment of how to get the feel of the footage before you speak to the director. It helps when you can be upfront about what is and isn't possible.
Team Mixing Light answers a member question about using the Judd Modification for an OLED reference monitor. What is it? When to use it?
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.
In the first installment of the Colorist Podcast for 2018, Josh sits down with well-known colorist Ian Vertovec from Light Iron. They discuss Ian's work, ACES, HDR, VFX workflow and much more!
Our focus in our Insights Color Correction Library is on creating original content. But sometimes we see original thoughts on other websites that you need to read. In this post, we share a few of those don't-miss insights from the internet.
Building on Robbie's recent articles, Pat and Dan ask questions about workflow and Robbie's recent trip to Dolby in Burbank, CA.
Dan shares a tale from the grading room of a film emulation gone wrong and how by missing the mistake was destined to fail in the grade with his clients.
Film restoration and remastering is a specialty in the craft of color grading. Learn how a Hollywood colorist handles its unique challenges?
The color restoration of classic films is one of the few 'Dark Arts' of digital color correction. Colorist Jim Wicks shares his challenges - and lessons learned - from this unforgiving niche of the craft of color grading.
In part 2 of our Dolby Vision series you learn more about suite setup. Then you dive into using the Dolby Vision trim controls (in DaVinci Resolve) for Standard Dynamic Range TVs. Plus, Dolby Vision 'mezzanine' file creation.
Colorist Dan Moran spends the first day of January 2018 looking back on his best work from 2017. Picking his favourite commercials, music videos and long form narrative projects and also sharing the stories behind when he enjoyed them so much.
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?
Getting into the holiday spirit, in this Insight Robbie shares 12 strategies to improving your color correction business in 2018
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.
Being able to offer Basic Cleanup in the grade is a great ability. It saves moving to and from a compositing application and helps finish off that job.
Sometimes a shot is so basic that a little VFX knowledge goes a long way. In this insight Dan shares his real world rotoscoping example
In part 1 of our series on getting to know Dolby Vision HDR workflow & color correction, you learn the essentials of setting up a professional Dolby Vision mastering suite.
VFX colorspace issues are the last thing you need when you are on a tight deadline. Dan shares his experience solving issues like these.
In a new series Dan shares a look behind the curtain at a real world grading project. From quoting to delivery he dives deep on his process.
Most of us are more comfortable using the same software all the time but why limit your opportunities? Dan shares his tips on learning a new software.
In this episode, Josh talks to legendary colorist Bob Festa about his gigantic body of work, grading techniques and much more!
Dan filmed some bad footage on his 7D with the wrong color temperature, harsh lighting & heavy compression. He offers up his best effort on a grade rescue.
Dan critiques your beauty grading entries and shares his attempt. The challenge was quite advanced and the results are great. Dan's DRX is also downloadable
Dan shares his inspiration for this month by checking out the nominations for Outstanding Color Grading at the HPA awards
Coloring long form projects with very quick turn arounds can be very challenging. In this article, learn techniques for surviving & finishing big projects
In this episode, Josh continues his conversation with director, author and colorist Alexis Van Hurkman. they talk HDR, ACES and more!
Beauty grading is a discipline all on its own. Dan shares a typical client brief and will offer stages of feedback like a real world client
In this insight Dan is reviewing your efforts on his car brief and also sharing his attempt at the shot to show his approach to the grade.
In this installment of the Colorist Podcast Josh talks to well known author, director, and colorist Alexis Van Hurkman about a wide variety of color topics
If you're trying to smooth out exposure changes in your footage then you'll love using Resolve 14's new Color Stabilizer filter (and avoid keyframing).
Dan shares his new approach to Assessing Tonal Range and the initial grading moves by asking. Are you trying to make it look better or different?
in this installment of the Colorist Podcast, Josh talk to colorist Juan Ignacio Cabrera about his work on cutting edge projects & many other subjects.
Some jobs just call for the grade to be turned up to 11. A fun way to do this is by blending multiple LUTs together and enjoying the happy accidents!
The Team discusses our new Resolve 14 New Features title as well as DaVinci Resolve Remote Rendering with guest Joey D'Anna.
In this installment of the Colorist Podcast, Josh is joined by colorist Vanessa Taylor. From balancing tech & art, grading HDR this is a great listen!
In Part 2 of this series on working with alpha channels in DaVinci Resolve, learn how to use the Key Mixer to solve tricky a tricky problem on a commercial.
In this Insight, we put Part 1 into action and explore the powerful workflows possible with Resolve 14 collaborative workflows.
Dan spent a month in ACES getting to know the new way of grading. In this insight he shares his thoughts on the good the bad and the ugly of ACES.
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.
Now that most people have a basic knowledge of color correction thanks to Instagram what does that mean for us colorists?
Dan shares his inspiration for this month including BTS on Moonlight, Peter Doyle, A$AP Rocky and a Lorde video shot on 16mm
In this Insight, learn about pulling a green screen key in DaVinci Resolve and how to manage transparencies and rendering alpha channels.
We should be spending more time looking at the timeline as a whole than focusing on shots. Nobody ever watches a single shot!
Have you ever considered hands or legs when doing a beauty grade? We spend hours on faces but the skin should match all over the body.
Sometimes when grading you end up going in totally the wrong direction have to just stop what your doing and start from scratch.
Is lens profiling something we should be looking at as colorists or is it a lot of extra effort to save a small amount of time in the grade?
Want to make a DCP directly from Resolve? In this Insight, Robbie explores the essentials of using the EasyDCP Resolve plugin.
In this episode of the colorist podcast, Josh talks to Technicolor senior colorist Peter Doyle about his amazing career & many other subjects
Inspired by the Blade Runner 2049 trailer Dan shares his attempt at recreateing the intense warm washed look.
In How I Grade Part Two Dan shares more steps in his grading process. We look at auditioning looks and checking the correct exposure
In this episode of the colorist podcast, Josh talks to industry veteran/legend Dale Grahn about his storied career & many other subjects
Dan attempts to walk through his thoughts when grading step by step from quality control to setting the first primary correction
Robbie, Pat, and Dan discusses the look of the series 'Westworld' and our look creation philosophies when color grading.
Day 11: 25 Insights in 25 Days New Year Marathon Enhanced Or Natural In this Insight I’m asking the questions behind Sky Replacement and if it belongs in the…
Most of us love to use LUTs behind closed doors. Dan shares his thoughts on why and how to break out of needing LUTs
Using Haze as a grading tool is an alternative method to using Vignettes. Making things lower contrast helps them sit back in the image.
Are you having problems deciding how to attack color correcting your images? Learn how to quickly generate ideas in this video.
Dan shares the skills he learned in the darkroom and how he applies them to grading black and white in DaVinci Resolve
In this Insight, Robbie shares a number of new year resolutions for potentially improving your business & color grading.
In this episode of the colorist podcast Josh talks to colorist Ayumi Ashley from Mission Film & Design about her work & career
Download the footage and follow along as professional Colorist Dan Moran, CSI color corrects a classic shot in the style of a Hollywood Western Look.
Colorist Dan Moran shares a color correction breakdown on how he approaches a new shot, sight unseen. How to make it an alien planet or a shed in a garden?
Matching Pantone references to video can be tricky at the best of the times. Get advice on getting that exact match - even if it's not precisely correct.
In Episode 6 of the Colorist Podcast, Josh Petok talks to commercial colorist Rob Bessette about his career, grading commercials & more!
Warm looks don't always have to be rosy red and cozy looking. Take a look at a non-traditional warm color and learn how to add it to your color toolkit.
Continuing our introductory series on ACES, you learn about the latest updates to ACES, including a working color space added to the ACES 1.03 specficiation: ACEScct. Plus, how it effects DaVinci Resolve colorists.
First, explore the list of the UK's 2016 Best Nominated Commerials - then ask a professional colorist to breakdown how they achieved their Looks.
Dan Moran shares his thoughts on the best commercial color grade nominations 2016. Top work from excellent colorists are great sources of ideas.
Did Blackmagic fix the 'Mouse Math' problem in DaVinci Resolve 12.5.3? Plus, how about the other bugs we found in our Resolve Detective series?
A member asks how they can easily sync Resolve's LUT folder between suites. Plus, the pros/cons of viewing HDR & SDR simultaneously.
Learn how to white balance shots with mixed color temperatures. Plus, how to deal with subtle color balance issues.
Considering Final Contrast before you make your first primary correction is a huge advantage creatively to help you get the best results
Our Getting To Know ACES series continues, looking at the essentials of using ACES for VFX roundtrips with DaVinci Resolve. You learn how to move images between VFX and color grading within the ACES color science.
Resolve users are often tasked with making final outputs.In this Insight, learn how to easily route multi-channel audio for output.
Dan shares his experimentation with the idea of grading using lens flares for subtle lighting effects to help match and lift scenes.
In Episode 4 of the Colorist Podcast Josh talks to well-known freelance colorist Mark Todd Osborne about his work & many interesting subjects
Dan shares his story from the grading room on grading a short promo project for radiohead
Sometimes going for the film look is not the right decision. Dan shares his tips on going digital to give us great punchy sharp images.
When working with heavy looks we sometimes forget about protecting skin tone and making our artist/actor look as good as possible
Conforming timelines can be time-consuming before you even start color correcting. Learn the common issues (and how to fix them).
Dan shares his top grades from July as a source of great colorist inspiration
Working on a PC but need to render ProRes? In this Insight, learn how to setup Resolve remote rendering & use a spare Mac for ProRes renders
Dan shares his techniques for taking your image to the brightness, saturation, and sharpness limits while maintaining legal levels.
Every once and a while you'll need to create a stylized bad TV or surveillance camera look. In this Insight learn how.
Dan shares some looks from his past focusing on two Early '00s looks in particular. One home digital camera one heavy 35mm music video
Supervised color grading is hard! In this Insight, Robbie shares 5 strategies for managing a supervised session.
Early film looks are a very popular request from clients.They can be tricky to build quickly so Dan shares his DRX files that you can download
Adding grain can help add a wonderful cinematic feel to a project but in the world of heavy compression is it a smart decision?
In this Insight, Robbie explores how through VPN & BitTorrent sync he was able to leave the office earlier & still work!
Get an inside look on methods and techniques a professional digital video colorist uses on a short-form fashion commercial.
NAB is over and a whole heap of new tools and toys have arrived for us colorists. The perfect time for another installment of colorist inspiration. This installment is slightly…
Another April, another version of DaVinci Resolve! In this Insight, Robbie shares his top new features of this exciting release.
Step 3 in our 'Premiere Pro Color Correction Protocol' is to control the viewer's eye. Learn how—by working with vignettes and custom masks.
The Team answers a member's question about sharpening quick focus pulls. Plus they discuss using the HP Z27x DreamColor display.
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!
DaVinci Resolve's 'Scene Cut Detection' workflow can be efficient. But it gets confusing if you've got revisions—here's one way to handle it.
Grading underwater footage is like grading footage from an alien planet. Dan shares his approach and technique for working in that world
It's a busy day for Team Mixing Light as we discuss our NAB 2016 plans, log style color grading and handling sRGB deliverables.
Learn how to use Premiere Pro Color Correction filters in a logical and organized method for any sized project. We start with contrast.
In this insight dan shares his approach and methods to matching black levels. Matching is hard but with practice you can become much faster!
How do you color correct Picture-In-Picture effects in DaVinci Resolve, when all you have is a single rendered movie of the entire timeline?
Using Luts in a color correction workflow is common, but everything doesn't always worked as planned. Learn 4 ways to work around look up table limitations
Dan shares a job as a commercial case study in shot matching - from pristine stock footage to constantly changing clouds.
Are you trying to work with non-HD Frame Sizes in DaVinci Resolve? It's very common for display advertising and this video will show you how to handle it.
Working with LUTs and Camera Raw in Premiere Pro can be tricky. In this video, learn one workflow that makes it a bit easier.
The Waveform & RGB Parade are essential tools for color correction. But when working with HDR footage in Resolve reading them can be slightly confusing.
Shot Matching is one of the hardest areas of being a colorist. Dan shares his approach to going head to head with mismatched shots.
Dan rounds up the best colorist inspiration from February 2016 with some of the best grades from the new year so far.
Sometimes inspiration can strike in the strangest of places. In this insight Dan shares how he finds inspiration from unlikely sources.
In this Insight, learn ways that you get more benefits for your buisiness out of a project even when a client isn't paying you all that much.
Dan shares his attempt and look inspiration in DaVinci of a fabulous Bond movie inspired 35mm film look from the music video Genghis Khan by Miike Snow.
There is a time in every colorist’s life when we need to add some retro 70s TV vibes to footage! This insight is based on both creating a parody of…
Sometimes we need to add more to our image to sell a flashback. Dan shares his tips for a firey look and adding diffusion and motion blur.
In this Insight learn how to build Infrared type looks in Photoshop & export them for use video grading tools like DaVinci Resolve.
Pesky warning messages about inaccessible cache & still locations in Resolve can be a nusiance. Learn how to fix them in this Insight
In this episode, Team MixingLight discusses HDR and best practices for setting saturation levels for log encoded footage
Neat Video is a popular noise reduction plugin for a variety of platforms. In this Insight Robbie explores the plugin now in version 4.
Day 16: 25 Insights in 25 Days Holiday Marathon Colorist Inspiration – Dan’s Best Of 2015 As the year comes to an end I thought it would be the perfect…
Dan shares his ENR processed look with his nodes and footage to grade along with at home.
In this installment of From The Mailbag we discuss how to isolate and sharpen edge details, and discuss a proper video noise reduction workflow
A cold commercial look can help bring bright natural commercial into a moody and grungy world
HDR is the 'next big thing' for color grading.In this Insight, get up to speed with two discussions about HDR with industry experts Bram Desmet & Juan Salvo
In this installment of From The Mail Bag, Team Mixing Light discusses what goes into the 'glossy' look of many commericals & how to edge sharpen shots.
In this Insight, Dan guides you through key aspects of getting proper skin tone in your grade.
Adding Sunshine In post can be tricky but Dan shares his techniques in DaVinci resolve to turn dull and grey images into warm and sunny!
Dan shares his thoughts on how to emulate shooting black and white with a red filter on front of the lens to give an interesting look.
Dan shares his attempt at matching the shot on 35mm film warm commercial look of one of his favorite commercials this year.
Its time for the big christmas ads to roll out and more colorist inspiration. Dan share's some of the top work and one of his own.
In any creative venture including color correction the feeling of failure is always lurking. Learn how to fight the feeling of failure.
The main pain when working with LUTs is not knowing exactly what they are doing. Dan shares his technique of LUT Limitation.
Two monitors may not match even if calibrated to the exact same color and luminance values. Learn how to perceptually match two monitors
How do you stay creative when you're not feeling creative? Learn how one professional is always finding opportunities when color correcting.
We all strive to create the most cinematic looking images possible but sometimes its fun to go for a harsh hyperreal sharp bright look.
Using LUTs with the Lumetri Color Panel can be tedious.In this Insight learn how to add LUTs permanently to the panel for quick access
In color correction we're solving problems. Sometimes they're handed to us, sometimes they're problems we created. See examples of both.
When jobs look good you wonder why your own work might not look as good. In this insight Dan shares his thoughts on Lighting The Looks.
How DaVinci Resolve 12 changes the way we write contrast curves in the LAB Colorspace. See the difference between Resolve 11 & 12 curves.
Have you ever wondered what it's like to speak to a DP before a job is shot? Dan shares a real world discussion on a tricky job.
Breaking down the color correction for a 'webisode' and creating a 'Film Look'. Plus, ideas for managing film grain.
Dan shares recent issues from his grading suite and focuses on noise and keying issues when working with a lut on recent jobs
Learn advanced key-framing techniques as we break down a color correction of a short film for a real-life haunted house.
Resolve Color Management (RCM) is powerful workflow tool but using it with Raw footage can be slightly confusing. Learn more in this Insight
Resolve is a capable finishing tool not just for video but for audio as well. In this Insight, learn how to configure multi-channel output
Rotoscoping in Resolve is becoming more and more necessary. Dan shares some hints and tips on how he approaches the task.
In this Insight, learn how to leverage DaVinci Resolve's powerful rendering engine to render multiple projects and timelines all at once.
DaVinci Resolve provides RAW controls for color correcting raw footage. Here are three rules if you want to use those controls.
Rebooting Your eyes can be tricky after spending hours, days or even weeks on a project. Dan shares how to refresh your eyes for a grade.
Check out this Insight to learn more about the essential of the new Resolve Color Management (RCM) features of DaVinci Resolve 12
A most welcomed new feature in Resolve 12 is Automatic Shot Matching. In this Insight, learn how it works and if it's right for your workflow
Are you figuring out the DaVinci Resolve 3D Keyer? In this color correction tutorial we take a First Look at this new feature in Resolve 12.
Dan shares his first thoughts on making primary corrections using the Baselight for Avid color correction plug-in.
In this Insight, contributor Josh Petok shows a straight forward but very effective way to use Resolve's curves to deconstruct a look.
Video games are just as visually stunning as films these days but how to you approach color grading CG footage from one?
In this Insight, learn how to use Post-Clip in DaVinci Resolve's grouping behavior as an alternative to timeline level grades
Color washes are the most extreme form of grading but can be very rewarding when done well. Dan shows you how he thinks they work best.
Action cameras and other wide angle lens can have some pretty severe lens distortion. Check out this Insight to learn how to remove it.
In this Insight, learn what RGB Gamut errors are and how to identify them before a broadcaster catches them for you!
In this insight I borrow my Stills Techniques and try and apply them to my video work. The standard is very high and the results are amazing
The world of stills retouching has such an amazing standard. Dan looks at those techniques and will borrow them for the video world
How to use shape masks when creating Looks in FCP X with the 10.2 update.
In this Insight learn about the recently announced Lumetri Panel & other color improvements in Premiere Pro CC 2015
Defining Texture is a great decision to make early on when grading. Do you want it to look glossy and commercial or textured and filmic?
Do you want to color grade more shots in a single working day? Part 3 gives you solid tips for increasing your daily shot count.
When working with skin it's quite easy to make it look false and over worked
Do you have trouble with shot matching while color correcting video? This tutorial will show you a reproducible workflow for any software.
In this installment of From The MailBag we take a look at file naming and project organization as well as tips for sharpening footage.
Shot matching is one of the most difficult color correction techniques. Learn a workflow for consistently 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.
Working with Tricky DSLR footage can be frustrating. Dan pulls out some awful clips from his archive and does his best to fix them.
Grading high quality is fun but what happens when you have difficult footage to begin with? Dan takes a look at Damage control when grading
You've landed the grade of your career, what happens next? Dan shares his preparation when a big job arrives for him to grade
Food commercials can be the trickiest of grades as they push your skillset and leave little room for error. Here are some techiniques
How do they make car commercials look so polished and refined? Dan shows you some common techniques used on a car commercial.
In this Insight, learn how powerful shaping skin contrast around someone's face can be to make a shot more dynamic.
Can you make extreme color corrections in LAB color space and export those LAB LUTs from Photoshop and have them work in Davinci Resolve?
Have you ever paused to think of the order that you place your nodes? Dan shares his approach to getting the most out of your image.
Its tempting to dive in with many nodes & advanced techniques but spend more time getting your contrast right & you'll love the results
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.
Take notes in a grading session? Have bad handwriting? In this Insight learn how to create client notes directly in Resolve with data burn-in
In a world where you can apply 20 nodes to build a look Dan challenges you to rediscover basic grading concepts starting with Saturation
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?
Premiere Pro has a powerful 3-Way Color corrector but by default its tonal range is narrow. Learn how to get better grades by adjusting it.
We take a look at the Best UK Commercials of 2014 in the world of uk color grading.
In this episode of From The Mailbag, the team explores fixing blotchy skin and what goes into a film stock emulation.
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!
Time to take the image into the next level with a fashion look in part two of the series on advanced beauty grading.
Understanding the Final Cut Pro X Exposure Slider is critical to knowing how to color correct in Final Cut Pro X. Click and discover: Why?
You've been able to apply lookup tables in Adobe Photoshop for a while, but a new feature gives the ability to export LUTs. Learn how!
Advanced Beauty Grading is quite a dark art in the world of color grading. Dan shows you his approach to beauty grading on a commercial.
Everyone wants to get better at their craft. In this Insight learn about how to overcome 5 common barriers to becoming a better colorist
In Part 5 of our LAB in DaVinci Resolve series, we answer members questions about dealing with saturation in LAB colorspace.
In part two of this series Dan dives into Resolve and tries out the methods first hand. Enjoying the restrictions and relief of grading.
Explore the different types of DaVinci Resolve node trees for LAB colorspace. Should we do all our work in one node? Or multiple nodes?
The clarity slider in some Adobe apps is a popular way to add a little pop or punch to a shot. Learn 3 methods for emulating this control.
Have you ever wondered why Christopher Nolan uses color timing instead of a DI for his grades? We take a look at the color timing world
In this installment of From The Mailbag, learn about our 25x25 Holiday Marathon & we each discuss our top 2 color related questions.
What if a professional colorist were required to color correct in Final Cut Pro X (without plug-ins)? We start by exploring Exposure.
Creating a feature film neo noir look can be tough. Dan shares his look using hardlight blending modes instead of his beloved curves.
The leave color behind look is something every colorist should have in their tool kit. Learn 4 different methods for creating this look.
Building an Infrared Look can give you some beautiful results if you have the right projects and feel adventurous!
YSFX tools in Resolve can be used to create vintage looks especially when combined with selectively applying them. Learn this technique now
Assessing Your Progress can be hard has a colorist. How are my grades better today than a year ago or even 5 years ago? Dan shows you how.
In this video, transfer those Photoshop skills color correcting LAB color in DaVinci Resolve - plus how the tools don't translate directly.
Learning how to color correct in LAB color space with DaVinci Resolve is easier if we start with how the Photoshop experts are doing it.
Photoshop pros are learning the power of LAB Colorspace. This is the first of several videos on applying those Insights to moving images.
Footage Quality Control in a modern file based world can be tricky. Dan shares his advice on how and when to reject source material.
Learn how to take a list of Look Up Tables in Resolve and make it into a visual LUT Library. This workflow can be used in any version of Resolve before Resolve 15 (which introduced a built-in LUT Library).
We take a look at difficult shape masking and combining multiple windows in DaVinci Resolve to give you total control over difficult images.
Tired of manually backing up your Resolve? Using some handy scripts Dan shows you how to fully automate the process
Using multiple windows and tracking them into your scene gives you total control of your image and allows you to build powerful looks.
Dan takes a look at his latest commercial grade and shares the thinking and techniques behind the grades.
It's easy to be stagnant always using the same tools. In this Insight learn how different tools can help you break a creative block
Do you need to color balance every shot in your video? What are the best strategies to color balance and enhance gray skies? Listen & learn.
In this Insight we take a look at doing shot matching with multiple cameras to create a smooth edit. Featuring: BMPCC, BMCC and Red Scarlet cameras.
In this episode of From The MailBag learn about what to do when you have no client direction & how to achieve that national spot look
Resolve Keyframes can be confusing at first but if you follow a few essential rules you'll be keyframing like a pro in no time!
Making people look as good is part of the dayjob for colorists. Working with skin tone can be tricky but Dan shares his tips and approach.
Many colorists use log controls as a primary grading tool. In this Insight learn how the log controls can also be used as a secondary.
Dan breaks down a shot from camera rushes to final look. He shares the good the bad and the ugly grades from starting point to final grade.
Shot Matching - Matching Skies. In this Insight, Dan shows you his techniques for color matching skies between multiple set ups and scenes
New Tools For Resolve 11 Are The Highlights And Shadows Controls. They offer up new creative options for setting the contrast in your scene.
Attended Grading - Starting A Session is the hardest part of the grade. You need to understand what your new clients want from the grade
Learn how to leverage grading a master clip in SpeedGrade & Premiere Pro. By using master clips you can speed up your grading dramatically.
New to Resolve 11 the softlight blending mode gives you a great new way to add texture and depth to your image.
Resolve 11 - New Matte Finesse Controls brings some great refinements to the qualifier controls. Clipping and noise reduction make pulling keys easier than ever!
Introduction To Lab Mode Grading in Resolve 11. This new way of working gives us lots of new creative options when grading.
Group grading in Resolve 11 has been totally revised.In this Insight learn how to get started & how to use group grading in your own projects
Stop using the full video contrast range on every shot in every scene. Learn to start managing contrast between scenes for visual interest.
Working With The Clone Tool in Resolve 11. Dan will be showing you how to paint and clone out elements of your footage.
Using a sky replacement we change a simple beach scene into a moody tropical sci fi establishing shot