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
In this installment of From The Mailbag, we discuss our new R14 New Features title as well as discussing 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 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
In this installment of 'From The Mailbag', Team Mixing Light discusses the look of the series 'Westworld' and our look creation philosophies.
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.
In this installment of our introductory series on ACES, we explore a new working space added to the ACES 1.03 specficiation - ACEScct
Dan Moran shares his thoughts on the best commercial color grade nominations 2016. Top work from excellent colorists are great sources of ideas.
In this MailBag episode, we discuss how to easily sync Resolve's LUT folder & 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 why
In this Insight, Robbie continues his series on Getting To Know ACES with look at the essentials of using ACES for VFX roundtrips with Resolve.
In part two of the series on getting to know ACES Robbie explores more ACES terms and shows how to get setup 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 limit 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.
Sometimes projects call out for extreme warmth to help backup the story. Shows like breaking bad show that going to the extreme like in the desert pay off.
In this Insight, Robbie explores how through VPN & BitTorrent sync he was able to leave the office earlier & still work!
From The Grading Room Fashion Commercial Recently I graded a beautiful fashion commercial so I thought it would be great to share another tale from the grading room with you…
Challenge yourself weekly for the next year to build better and stronger and cleaner grades. Practice makes perfect
NAB is over and a whole heap of new tools and toys have arrived for us colorists. The perfect time for another instalment of colorist inspiration. This instalment 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…
In this installment of From The Mailbag we explore how to sharpen quick focus pulls and discussing 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 from his grading suite as a commercial case study in shot matching
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.
Look Inspiration – 70s TV Inspired Retro Look There is a time in every colorists life when we need to add some retro 70s TV vibes to footage! This insight…
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 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.
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.
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
Commercial Breakdown - Rolo. Dan shares another instalment of his series of behind the scenes insights. We build looks for different eras.
Footage Quality Control in a modern file based world can be tricky. Dan shares his advice on how and when to reject source material.
Dan shows you how he built a Halloween Slasher Look inspired by classic 80s movies for a recent teaser commercial for Halloween.
We take a look at difficult shape masking and combining multiple windows in DaVinci Resolve to give you total control over difficult images.
Using multiple windows and tracking them into your scene gives you total control of your image and allows you to build powerful looks.
Dan showcases the best of the best in UKMVA's Best Color grading award catagory.
Dan takes a look at his latest commercial grade and shares the thinking and techniques behind the grades.
SpeedGrade CC 2014.1 offers an updated Interface, New Features and some new tools. Check out this Insight To Learn More
We visit the colour grading work of Company 3 master colorist Dave Hussey – rock star colourist and all round awesome guy
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. BMPCC, BMCC and Red Scarlet
In this episode of From The MailBag, learn about Resolve 11's new broadcast safe option & how to use LUTs while Grouping.
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 skintone can be tricky but Dan shares his tips and approach.
Look Up Tables can be complex subject. In this Insight get a colorists perspective on the difference between 1D and 3D LUTs.
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.
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
Frequently we need to make blown-out highlights in our videos look intentional. I demonstrate doing that using Lens Flares from Sapphire 7.
In this insight dan takes you through a journey of setting the time of day in a scene. The flow of the story is key when setting a time.
In this episode of From The Mailbag, we discuss using the Tangent Element In Adobe SpeedGrade & what goes into getting good skin tone.
Are you wondering how to use the Indie Essentials quicktime library with DaVinci Resolve? This advanced tutorial demonstrates one workflow.
Working With raw files allows you to to get the best possible results with your footage. Lets start with getting the best exposure
Have you ever had to build a look that helps put a shot into a certain era? Dan Moran shows you how he approaches the challenge
Learn how to quickly create a blurred or glowing highlights look using DaVinci Resolve
When you need precise separation using External Mattes from a Rotoscope artist makes precise grading in DaVinci Resolve a breeze
Adding grain can be hard to manage in Resolve. Dan shows you the easiest way to have grain ready in your colorist toolbox.
Are you having trouble getting bright, happy images that aren't also feeling flat? Learn how I get around this by dropping the midtones.
Learn techniques for masking and tracking in Premiere Pro CC in this color correction tutorial from a professional colorist.
What is photochemical color timing? What is the role of the cinematographer while color correcting? Learn what three colorists think.
Grading a music video can be challenging from a time perspective. In this Insight learn about Managing A Grade for when time is tight.
Dan takes a look at the offset controls. The oldest and most overlooked primary controls in Resolve. Great for shot balancing.
Reference Images - Matching To A Reference. Have you ever had to match your footage to a famous movie or photo? Dan will show you how.
Jean-Clément has been the most influential post production professional in London and for many years. Here is a look at his work.
Legalizing Video with DaVinci Resolve can be done in several ways. In this video we show you how to do it Shot-by-Shot.
Learn how ripple your color corrections through multiple timelines in DaVinci Resolve using the power of the Master Session.
Grading Composites like picture in picture effects from a single clip can be heard. Learn how to attack these shots in DaVinci Resolve
Learn how the Double Side Technique can help you to create more dynamic color grades on flat or boring shots.
In this episode of From The Mail Bag we discuss getting out of creative funk & consolidating a multi-reel project in Resolve.
Get the most out of your 'Pieces To Camera' (on-camera Stand-Ups) using power windows and curves on footage that needs to look normal.
Color correcting long steadicam shots can be a challenge. Learn how a professional colorist cracks this nut with shapes, tracking and keyframes.
Learn how a professional colorist analyses an image. Learn what they focus on and how they grade using contrast, color and secondaries.
In Part 2 of this series you learn how to use the Add and Screen blending modes to create glows, texture or light leaks to your moving images.
Learn how you can easily add some fun 'video distortion' to a music video or commercial using some creative Splitter-Combiner techniques in DaVinci Resolve.
In DaVinci Resolve, video noise reduction targeted to specific color channels lets us balance between sharpness and noise reduction.
Can you perform simple compositing in DaVinci Resolve? Yes. Plus, you can use blending modes and alpha channels to add visual effects or graphics.
Learn how to perform basic online editing tasks in DaVinci Resolve 10. This tutorial looks at compositing, titles and Sapphire plug-ins.
Are you fighting a green color cast with Arri Alexa footage? This may be due to the Arri Alexa Film Matrix. Learn how to use Resolve's RGB mixer to fix it.
In this color correction tutorial, we explore color correcting FS700 footage in our Fake Film Trailer. We'll also use Sapphire plug-ins for DaVinci Resolve.
Using shapes to isolate areas of your image for color correction is a key color correction skill. Learn how to do this using the Premiere Pro Title Tool!
In this installment of the Fake Film Trailer, I start color correcting Red Dragon footage. It's my first time working with this camera.
We explored video noise reduction in DaVinci Resolve 10 earlier. In this tutorial you look at the OpenFX plug-in, Neat Video, and compare the differences.
Explore DaVinci Resolve 10's built-in video noise reduction tools. It's available to paid owners Resolve 10. Should you upgrade? Watch Parts 1 & 2...
We're going to use DaVinci Resolve key frames with animating Power Windows—dialing up the tension and creating the feeling of alien ships flying over head.
Learn how a professional colorist evaluates a project (film trailer) before a single shot is color corrected - a critical step for smooth sessions.
Part 1 of our two-part overview of the Film Convert Plug In. Learn how to use the OpenFX version in DaVinci Resolve 10 and explore its various options.
Three professional colorists discuss how to emulate LightRoom's Clarity Slider in DaVinci Resolve. Plus, where color correction fits in VFX workflows.
Learn how to split color channels into RGB, YUV or LAB with the Splitter Combiner nodes in DaVinci Resolve. Watch me put them to work.
You can use the Overlay blending mode to add grain and get great colour and contrast pop, with the click of a button. Watch me put it to use.
I like to work with background plates in Resolve. This allows me to color correct my product or actor in place, allowing creative choices. Watch me work.
The Low Contrast Look is a flat style of color correcting. In this video, learn how we execute it without making our images look lifeless.
Has a client ever asked you to create a 'Film Look'? Yes, us too. In this video, learn how we get to this Look using some new features in DaVinci Resolve.
Sometimes when you're color correcting you need to give the job an extra wow factor. My favorite technique at the moment is tinting the shadows. Learn how.
'Secondary corrections' are isolations to areas of an image to make specific color corrections. Here are tips on getting quick results.
Dan shares the updates and feature refinements for Resolve 10 Windows including showcasing the new gradient window and unlimited shapes per node
DaVinci Resolve 10 hides the 'Master Session' by default. Why do I rely on it when color correcting commercials and music videos? How do you find it again?
Dealing with Time Warps in a color correction workflow is difficult to manage. I found a workflow, saving time and money for you and your clients!
Do you know how you can copy / merge color corrections in Avid Symphony from one sequence to another? This video shows you the process.
Have you ever been asked to color match a shot to a reference image for their video? Here are a few ideas on how to do that in DaVinci Resolve.
You will learn two ways to use the Key Mixer Node: How to set it up as a master control for multiple masks; and how to build garbage masks for cleaner keys.
If you're looking to create a Look and want something a bit different (and even noisy)... here's how you can create the 'Korean Horror' Look.
DaVinci Resolve's node tree makes it tough dissolving between two completely different Looks. Learn how to do it easily, without getting lost in keyframes.
What does it mean to shoot film or video as 'Day for Night'? Learn the terminology and how to do it in this video tutorial.
Recently, clients have been coming in asking me to create a 'vintage look' for them. What is that? And how do I go about it?
Do you have burning questions about color correcting music videos? Professional colorist Dan Moran, CSI is here to give you his answers.
When using Look-Up Tables you've got be careful with LUTs and 32-bit Float... otherwise you may end up clipping out valuable image detail. Learn why.
Compositing graphics in SpeedGrade - even in a Native SpeedGrade project - is easier than you think! Learn how you can do it.
After my 3-part series on the theory of Depth-of-Field and techniques simulating it, the theory is put to action—learn how you can use these techniques.
Are you looking to control depth-of-field in your video images during color correction? This video shows you how to use selective sharpening and blurring.
Flat boring outdoor shots are very common when color correcting. What can you do to fix it? Learn a technique based on Classical painting theory.
Have you ever needed to improve how an actor 'looks' in a video? Learn the basics of how the pros do it in this Beauty Grading 101 video.
Adjustment layers can be used for many things—a favorite is color correcting and applying a Look to a few shots, a scene or an entire timeline.
When preparing to color correct a job in DaVinci Resolve, to Preconform or Conform is a question you need to ask yourself (and know their differences).
'Clipping' image detail is considered bad. But learn how to use DaVinci Resolve's 'soft clipping' control for great creative effect.
If you want to add Camera Shake in Davince Resolve then it can be tricky since there isn't a 'shake' tool. Learn a quick workaround to achieve this effect.
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