Expand your colorist toolbox with custom Python scripts and DCTLs for Frame.io workflows, subtractive saturation, and timeline duplication.
Learn to use DaVinci Resolve's Fusion page to build custom, reusable transitions to work inside a node based ACES pipeline.
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.
Learn how to insert 3D objects or paint out defects in videos with a moving camera using DaVinci Resolve Fusion's 3D Camera Tracker.
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.
In this webinar, learn an alternative approach to color grading ACES projects in DaVinci Resolve plus collaborating with others in ACES.
Do you want to remove artifacts from dirty lenses or remove objects that are distracting. These ResolveFX can help you, in Resolve Studio.
Dan kicks off January 2020 by looking back on 2019 and speaks about his personal favourite grades & experiences of the past year.
Learn how to use Keyboard Maestro and Stream Deck to supercharge your workflow in DaVinci Resolve on Mac with powerful macros.
Working with new cameras is always a challenge. Get an inside look at what Dan does when working with the Fuji XT-3 camera
In this new series, Dan's grading the short film 'Origins' (using Baselight). It's got VFX, ACES, multiple deliverables (and light sabers).
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.
Working as a freelance colorist seems like freedom and flexibility. But what do you do on vacation - and the client has urgent revisions?
Learn how to build (and re-use) your Resolve Fusion comps as Groups and Macros. Plus, choosing which settings are exposed on the Edit Page.
Dan shares his thoughts on recreating tape based artifacts using the brand new Resolve 16 Analog Damage tool.
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.
Learn the workflow of the 3D toolset in DaVinci Resolve Fusion. Discover how to change materials, add reflections, color grade 3D objects.
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.
Do you perform repetitive tasks on a regular basis when color correcting or finishing? Then learn how to use DCTLs to automate those tasks!
Dan wraps up his behind the curtain series with a watch through and matching pass on the whole video to make sure it flows as a whole film
Dan shares his story from a recent "not so near-set grade" for an upcoming collaboration with friends on a short film.
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.
Dan shares the opening part to his full unfiltered look at how he graded a music video in a 16mm film style.
Learn how to animate unrelated properties using Expressions. In Part 2, we use the Camera's Z-position to drive another element's Opacity.
In this Insight, Dan shares his approach to creating a classic 16mm Film Emulation that he used on a recent music video.
Finding the right balance of noticable and realistic is always a challenge. Dan shares behind the curtain on a film release print style grade.
Resolve's new scripting APIs open up exciting new possibilities. Learn how to get started by using Python to import comments from Frame.io.
Dan shares his technique of using the multiply blending mode to recover highlights easily and naturally via a layer node.
Dan shares his thoughts on the UKMVA Nominations 2018 for best grading. This year he was also part of the judging panel.
In part 3 of our ongoing Dolby Vision series, learn about big changes to Dolby Vision & Resolve in 2018, plus new tools & workflows.
Dan shares his 90s video review and his attempt at going bold, bright soft and crushed in this grading challenge.
Team Mixing Light is once again joined by Joey D'Anna to discuss integrating graphics and text into Dobly Vision HDR projects.
Digital video post production and color grading is rapidly advancing. Which technologies do you need to prepare for? And why?
Dan & Robbie describe watching colorists grade HDR for the first time, while competing! Plus, Mixing Light's partnership in China.
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.
Pat, Robbie and Mixing Light Contributor Joey D'Anna discuss what can DPs and onset staff do to make the final color grade easier?
Resolve 15 supports the ability to create DCPs natively. In this Insight, learn how that works and get back ground info on essential DCP specs.
Sometimes we are gifted with better sun than other times. In this Insight Dan shares his experience on a job shot over multiple months.
In this Insight, Dan shares his experience in developing a look to back up the lyrics and narrative in a music video by his favourite band.
For Dan's Inspiration July 2018 he shares his list of top colorists inspiring him in the summer of 2018 with their amazing grading work.
In this Insight, learn about the basic design of the Lumaforge Jellyfish Mobile, and why it might be a perfect solution for your set-up.
Summer 2018 round-up of don't-miss color correction tutorials from other websites (with commentary). We wish we had them here, first.
Exposure shifts creep up in projects regularly. With the right node structure and correct technique you can easily fix these in seconds.
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.
Flanders Scientific is shipping it's highly anticipated XM310K - a 31 inch DCI 4k 3000 NIT HDR mastering monitor with 12G connectivity. I talk to FSI CEO Bram Desmet about HDR & the XM310K.
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.
In an earlier Insight, you learned how to Stress Test your Look Up Tables (LUTs) to discover if they are introducing artifacts in your images. In this Insight, learn how easy (or hard) it is to generate 'broken LUTs' in DaVinci Resolve.
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.
Look-Up Tables (LUTs) are black boxes that make it difficult to know what precisely they're doing to your image. Colorist Jason Bowdach shows you how to stress test and evaluate your LUTs.
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.
Beauty work and re-touching can be a great additional source of income as a freelance colourist. Dan shares his thoughts and kicks off a new series on getting involved in retouching.
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.
Can you prebuild a perfect node structure and use it to speed up your grading? Dan is taking a deep dive to find out how well it works, and if it's a genius idea or a total waste of time.
In the last couple of years there has been a shift away from teal and orange to teal and yellow. Dan investigates that transition and looks at his own grades. He also asks do you miss teal and orange?
In this insight, we take a look at the final pass on the bread short film. Dan looks at his matching with fresh eyes, checks his black and white levels and decides on the sharpening and grain levels of the film.
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!
In part two of grading the bread short film, Dan dives into the matching side of things. Although it's the least glamorous part of grading it's also the most important.
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.
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?
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.
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!
The Team discusses the pros/cons of 4k monitoring. We explore new offerings from Flanders Scientific including the XM650U and XM310K.
A member asks a question about working in Full Range but delivering a video rendered to legal/broadcast levels. We work through the thinking.
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?
Dan is excited to launch a new series on Mixing Light that will feature a briefing from the real director of the project. In this intro Insight, download some RED 8k footage to attempt a grade before getting creative brief from the client.
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!
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?
When you have complex node trees, rolling it into a show LUT can make your life. Learn how to build your own LUT for your project.
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.
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 this installment, Josh talks to Digital Film Tree lead colorist Patrick Woodard about color correcting high-end TV, remote sessions, ACES and more!
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.
Dan shares his thoughts about the UKMVA nominations 2017 for best music video color grading award and asks you to predict the winner
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.
Designed for gamers and streaming is the El Gato a suitable control surface supplement for colorists? In this Insight, learn about the Stream Deck
Download and color correct a challenging video clip - following the instructions of a supervising colorist. And learn about Resolve's noise reduction.
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
Magic Bullet Looks is a powerful plug-in for creating looks. Does the newest version play back in real-time? How is its performance in Davinci Resolve?
An old school technique that is still regularly used today in commercials. Having a break between grading the same footage has huge advantages.
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
In a new series Dan shares his guide to training your eye for contrast issues. Follow this four step process to learn how to diagnose and fix your images
RED's new IPP2 processing pipeline has a lot to offer, in this Insight, we explore the new pipeline setup in RedCineX & DaVinci Resolve 14
Dan is turning 30 and shares his work from across the years to show how his grading has evolved and improved year after year
Managing the elements and components on a feature film is pretty much a full time job. Dan shares his tips for using markers to stay on top of his project
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).
In DaVinci Resolve 14, the Stabilizer got a new set of controls that seem overly simple. Has this tool been upgraded? Or should you work in Classic mode?
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!
Dust Busting in one of those tools you don't know exists in Resolve. Dan shares his tips on how and when to use it in the grade
The Team discusses our new Resolve 14 New Features title as well as DaVinci Resolve Remote Rendering with guest Joey D'Anna.
Dan shares the behind the scenes thoughts that go into such a stylised 70s era music video for Lucy Rose. 80% in camera and 20% in the grade
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.
Sometimes we need to go outside our role as traditional colorist. Dan shares his story form his work paying tribute to an icon
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
Among Resolve 14's great new features, the redesigned collaborative workflow stands out. In this Insight, learn the essentials of Resolve collaboration.
Working with key signals in DaVinci Resolve isn't hard - but it's not intuitive either. Once you figure it out, it's also a power feature. Learn more.
Dan Moran shares his thoughts on the best commercial color grade nominations 2016. Top work from excellent colorists are great sources of ideas.
Dan is committing to doing work only in ACES in May. It's time to get out of the comfort zone & stop testing. Changing our technique is scary but also fun!
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 installment of Color Correction Gear Head veteran colorist Marc Wielage provides his impressions of the new Resolve Mini Control Panel.
Now that most people have a basic knowledge of color correction thanks to Instagram what does that mean for us colorists?
In this special edition of the Color Correction Gear Head series, we welcome Joey D'Anna & his review of the Resolve Mini Panel.
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.
In this edition of the Colorist podcast Josh talk to the famed Warren Eagles from the International Colorist Academy.
In part 2 of this ongoing series, Robbie explores using Streambox's Hybrid Encoder for remote sessions plus some additional gear.
Sometimes when grading you end up going in totally the wrong direction have to just stop what your doing and start from scratch.
Want to make a DCP directly from Resolve? In this Insight, Robbie explores the essentials of using the EasyDCP Resolve plugin.
Getting started on a feature film can be a daunting process. Dan shares his experience on getting the ball rolling slowly and carefully
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 part 1 of a 3 part series, we explore the different methods of remote grading and how remote work can help your bottom line.
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.
Reframing in Resolve as become common practice. Dan shares his approach to finishing in the box and shares his tips and tricks
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.
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?
In part 1 of new series on switching from the Mac to Windows, we address some common complaints often cited about moving from a Mac to a PC
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.
Dan Moran shares his thoughts on the best commercial color grade nominations 2016. Top work from excellent colorists are great sources of ideas.
A member asks how they can easily sync Resolve's LUT folder between suites. Plus, the pros/cons of viewing HDR & SDR simultaneously.
In Episode 5 of the Colorist Podcast, Josh talks to well-known online editor & colorist Terence Curren about his work & other sujbects
Are you showcasing your range of looks and grades with your showreel? Dan breaks down his latest reel and explains his approach.
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.
Start digging deeper into ACES terms and acronyms that will have you sounding like a pro. And you learn how to set up ACES in DaVinci Resolve.
Dan shares his thoughts about the 2016 best color grading award nominations and asks you to predict the winner
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
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
The summer vacations are winding to a close, the kids are returning back to school and the post industry is winding up for that crazy blur that is the September…
Dan shares his story from the grading room on grading a short promo project for radiohead
In Episode 3 of the Colorist Podcast Josh talks to well-known finishing artist & colorist Gray Marshall from Technicolor L.A. about his work.
Sometimes we get lost in the heat of the moment and over complicate our grades. Dan shares his tips for responsible grading when time is short
Conforming timelines can be time-consuming before you even start color correcting. Learn the common issues (and how to fix them).
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
In the inaugural edition of the Mixing Light color correction gear head series we take a look at 4 pieces of gear for the colorist.
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
At some point in every colorists career you will be asked to make some looks throughout the ages like 60s, 70s, 80s, 90s. Dan shares how.
Summer has arrived and the annual down turn in business begins. My clients first head off to the cannes lions festival and then off on their summer holidays. It’s the…
Adding grain can help add a wonderful cinematic feel to a project but in the world of heavy compression is it a smart decision?
Dan shares parts of his conversation about the grade on recent wonderful life commercial grade.
Some projects call out for extreme warmth to help back up the story. Learn methods to get an extremely warm feel that looks real.
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.
Learn how Dan uses reference images to create his Looks - and download the sampe footage to try your hand and practice your skills.
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.
Shot Matching – Match My Shot Pt 1 I had an eye opening experience in my grading suite this week. Some clients of mine asked me to match grade some…
The Team answers a member's question about sharpening quick focus pulls. Plus they discuss using the HP Z27x DreamColor display.
Grading underwater footage is like grading footage from an alien planet. Dan shares his approach and technique for working in that world
In this insight dan shares his approach and methods to matching black levels. Matching is hard but with practice you can become much faster!
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.
Building a one man workflow to get the maximum out of your time grading.
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
It's time to cut your reel and Dan shares his advice on his Showreel 2016
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.
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…
HDR video is coming, and coming fast. In this Insight, learn how to get setup and work with HDR video in Premiere Pro's Lumetri Color Panel.
In this Insight learn how to build Infrared type looks in Photoshop & export them for use video grading tools like DaVinci Resolve.
Dan shares two of his favourite B&W Looks and the DRX files for you to download
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.
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.
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
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.
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.
If you need to switch between different Looks in a single shot, learn how to use DaVinci Resolve's 'Layer Mixer' node for fine-tuned control.
Blackmagic Design Fusion is now free for everyone so make sure to add it to your colorist toolbox. Dan runs down his favorite tools so far
Sometimes you need to go hard and contrasty with black and white and Dan shares his experience when building a metallic monochrome look
Septembers most memorable grades roll in and dan shares the best work he has seen from young colorists including one of his own!
Resolve Color Management (RCM) is powerful workflow tool but using it with Raw footage can be slightly confusing. Learn more in this Insight
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
Have you ever tried compositing in DaVinci Resolve? It used to feel like a work-around. In Resolve 12, it's MUCH easier. This video explains.
Resolve 12 is here and this insight is aimed to get experienced colorists up and running as soon as possible with some tips from Dan
Frame.io provides a ton of tools for collaboration including some great ways for a colorist to interact with their client. Learn more...
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 Dan gives you a crash course on all the major tool sets that you need to know to start grading in Baselight
Dan shares his first thoughts on making primary corrections using the Baselight for Avid color correction plug-in.
In this updated Insight learn what gear you'll need and how to properly setup a shared database in DaVInci Resolve.
In this insight Dan shares a Grade Breakdown on a recent commercial to challenge you to use your eyes to notice all his grades
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?
Sometimes you need to throw the rules out the window and create the worst possible image for effect. Dan shows you how to do this in Resolve
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.
What do you do when a client says keep it natural? Dan shares tips for getting the most out of your image by building an invisible look
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
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?
With LUTs so common place in modern color grading sometimes you need to visualize and convert them - Lattice can help!
When working with skin it's quite easy to make it look false and over worked
In this installment of From The MailBag we take a look at file naming and project organization as well as tips for sharpening footage.
In this installment of From The Mailbag, we discuss using grain as an external matte on a still & broadcast safe workflow.
DSLR Music Video are pretty common and can be incredibly tricky. Dan shares one of his favorite music videos shot on DSLR
Working with Tricky DSLR footage can be frustrating. Dan pulls out some awful clips from his archive and does his best to fix them.
In this installment of From The Mailbag we explore the idea of a rolling conform in Davinci Resolve and using Dropbox to share databases
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
In this Insight, learn how with help of a simple yet powerful plugin you can export Look Up Tables (LUTs) from Lightroom to use elsewhere.
Food commercials can be the trickiest of grades as they push your skillset and leave little room for error. Here are some techiniques
In this Insight, learn how powerful shaping skin contrast around someone's face can be to make a shot more dynamic.
When you get into very advanced grading there are even more node operations to worry about. Dan shows you his layout for commercial grading.
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.
Sometimes you just can't make a grade look good no matter what you do! The Colorist Block is real and dangerous but defeatable.
Color temperature allows us to control many factors from time of day to adding to the mood of your image by warming or cooling.
Its tempting to dive in with many nodes & advanced techniques but spend more time getting your contrast right & you'll love the results
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
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.
In this episode of From The Mailbag, the team explores fixing blotchy skin and what goes into a film stock emulation.
Learn about a little known feature in Resolve 11 called Dynamic Project Switching that allows you instantly switch between large projects
Time to take the image into the next level with a fashion look in part two of the series on advanced beauty grading.
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!
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 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.