Editor Jonny Elwyn shares five tested methods for starting from a blank timeline, even with overwhelming footage, while keeping things tight.
In Part 2 of our series, learn the many features (and tips/trick) of Davinci Resolve 18's cloud-based Collaborative Workflow
Creating dailies seems simple - but professionals break them down into several varietals. In this Insight, you'll learn the key differences!
If you have many graphics or visual effects shots that might be replaced at the last minute, learn the value of Resolve's 'Take Selector'.
Learn to use optical flow for more than speed changes. In this Insight, fix a corrupt frame and repair archival footage pull-down artifacts.
Get started with DaVinci Resolve 18's Cloud-based Collaboration workflow. In Part 1, begin sharing media and projects with a remote team.
Mixing Light Contributors talk with Hedge.video's Isaac Terronez about affordable remote collaboration using Postlab and Postlab Drive.
In Baselight Student, learn how to copy and paste grades to shots & scenes, including the ‘intelligent paste’ & using the Playback Filter.
Learn an advanced compound timeline use-case for Dolby Vision deliverables - without ever rendering & replacing the original HDR timeline.
Use compound timelines in DaVinci Resolve for speed and efficiency when managing separate versions of timelines and multiple creative teams.
Learn how to control a remote DaVinci Resolve workstation using Parsec with VirtualHere to virtualize locally-attached USB devices.
50 years later, the simple EDL is still useful for sharing timelines! Get more tips and tricks on integrating EDLs in colour managed projects.
Using Resolve's Edit Index and EDL comments, you can prepare a preconformed timeline for color management much easier than you think.
Colorist Joey D’Anna shares with you new custom tools for batch rendering, automatic backups, and a 3D motion control template.
In this Insight Dan (well known for his gritty looks) tries to bring a bit of that style to a cleaner, HDR ready show look created in Baselight
In this Insight, Colorist Joey D’Anna shows you how to move an SDR grade into HDR using a Custom ACES fixed node structure.
In an application as deep as Resolve its easy to forget about a feature or not even know one was there! In this Insight, Robbie Carman explores some of these
Coloring Reality TV can be a huge undertaking. However, if you organize and prepare, you'll deliver a high-quality show on time.
In his latest Custom Workshop, Colorist Joey D'Anna gives you 3 useful custom Fusion templates for use on DaVinci Resolve's edit page
Learn how to use Resolve 17's new remote panel capabilities for remote color grading that is secure, interactive, and color accurate.
In Part 2 of his series, Joey shows you how to take remote color sessions to the next level by adding macros & remote control to your ATEM switcher setup
In part two of this series, we explore fixed node structure workflows with ColourLab AI as well as two OFX plugins that are a part of the ColourLab AI ecosystem.
Learn to use DaVinci Resolve's Fusion page to build custom, reusable transitions to work inside a node based ACES pipeline.
In Part 1 of a new series, Jason Bowdach shows you how to get projects to ColourLab AI and how to build a match across a scene using this powerful tool.
In this installment of Good Grades we sit down with Sr. Managing Colorist at NFL Films, Chris Pepperman.
Get up to speed on Resolve 17's new proxy workflow for lightning fast editing and grading performance when working remotely.
In the finale of the series, colorist Peder Morgenthaler puts what we've learned into action creative 3 looks with the Color Warper.
In the last installment of his series on the essentials of look development, Cullen Kelly guides you through the concept of preferential color mapping.
In part 2 of his series, Peder Morgenthaler dives deeper into the controls in DaVinci Resolve's Color Warper.
In this episode, we discuss if project-wide or more custom approaches to color management are the 'right' way to do things.
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.
In this Insight, learn how to setup, monitor, edit and deliver Dolby Atmos immersive audio in DaVinci Resolve 17
Watch colorist Joey D'Anna update his custom ACES workflow to better use the new HDR tool in Resolve 17, and use DaVinci Wide Gamut colorspace
We welcome new contributor Jason Druss to Team Mixing Light as he kicks off his new 'Good Grades' series talking to top colorists. First up Shawn King
SetStream.io is a powerful new remote streaming tool. In this Insight, we sit down to chat with Thatcher Kelley to learn more about SetStream.io
Learn how to establish good color management and clear definitions for your look development workflow.
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.
The new DaVinci Resolve Speed Editor is a fantastic controller. Learn how to use it for color grading, online editing and multicam workflows,
Learn how to painlessly create end titles, how they can go wrong, and the new Endcrawl.com interface allowing for custom looks and layouts.
Small features can make a huge difference to your workflow! Learn new edit page features to speed up and improve your workflow in Resolve 17.
With the holidays nearly upon us, in this installment of Color Correction Gear head discover several 'stocking stuffer' pieces of gear to add to your list!
Resolve 17 Public Beta is here and it is a huge release! Colorist Joey D'Anna points you to his favorite new features, updates, improvements.
Team Mixing Light announces an upcoming new website feature & the Team revisits the issue of exports looking 'wrong'.
Learn an advanced workflow for round-tripping between Avid and Resolve, while maintaining effects and online work done inside Avid.
Learn to use VLANs, link aggregation and more to manage high performance networks for post production, using Ubiquiti products.
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.
Applying the one color grade to multiple shots is easier with Resolve's Groups or with Shared nodes. Learn how to combine the two approaches.
In part 1 of a new series, learn the essentials of how to interpret and read references for contrast, tonality, and other key factors.
Learn powerful keyframe editing techniques in DaVinci Resolve's Fusion page, using the built-in spline and keyframe editors.
In this webinar, learn an alternative approach to color grading ACES projects in DaVinci Resolve plus collaborating with others in ACES.
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
In this From The Mailbag, we discuss the current and the possible future of work from home & remote workflows + concerns that we might not be consindering.
Everything you need to know from project creation to starting your grade including, colour management, project management & Scene Detection
Learn how to build a powerful fixed node structure in DaVinci Resolve to work within a valid ACES pipeline, without normal limitations.
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
In this Mixing Light Webinar replay, join Mixing Light co-founder Robbie Carman as he explores HDR essentials, including vocabuarly & workflow
Do your images need to look more colorful? In this Insight, learn 3 color separation tools for increasing perceptual colorfulness.
Premiere Pro's new Productions workflow is a massive boost to Premiere's capabilities and reliability. Forged by Hollywood, see how it works.
In the remote, work from home reality that find ourselves in, how can you deliver color accurate real-time streams to clients? Learn how in this Insight.
In this From The Mailbag we revisit some key aspects of a Resolve remote workflow as we try to answer questions from a member on the same subject.
In this Insight Robbie takes a look Screen and affordable, color managed video player for the Mac from Video Village.
Learn how a pro colorist is integrating the Resolve 'color space transform' plugin into his fixed node tree to get better results, faster.
Neat Video 5.1 is a powerful complement to DaVinci Resolve Studio's native noise reduction toolset. Get a close-uo look at Neat's workflow.
In this installment of From The Mailbag, a member's question about using the CST OFX within a color-managed project got us into revisiting these workflows
Do you struggle getting a good starting point while using Look-Up Tables (LUTs)? This idea may make things easier (in Davinci Resolve).
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 installment of Color Correction Gear Head, Robbie shares some essential items that went into the building of his new facility.
In this new series, Dan's grading the short film 'Origins' (using Baselight). It's got VFX, ACES, multiple deliverables (and light sabers).
Learn the benefits of a 'fixed node tree' in DaVinci Resolve. Get a look inside one colorist's node tree - and how it evolved over time.
Learn two different methods (with different levels of control) of emualting the beauty of film halation using DaVinci Resolve.
In this episode, we discuss the past decade and speculate on the next 10 years in the world of color grading.
In this installment of From The Mailbag, we tackle a hot topic from the world of color grading this past week - is there such as thing as FAKE HDR?
What is an IMF package? How doyou use DaVinci Resolve to create supplemental IMFs for delivering fixes and alternate versions?
In this installment of From the MailBag, we're once again joined by Mixing Light contributor Joey D'Anna who gives us the skinny on supplemental IMF packages for delivery to broadcasters and OTT providers.
Learn how to set up your physical workspace for quick color grading in Adobe Premiere Pro. Plus, optimizing the software for your workspace.
In this episode of From The Mailbag we discuss a member's email about how he feels he should be landing bigger projects but isn't.
A Mixing Light member has color graded for an internal team for years. But how does he know if he's ready for outside client color sessions?
Learn how to use DaVinci Resolve to finish and output coutless versions of broadcast promos, easy fast and without any mistakes.
In this Insight learn several strategies for not resenting projects and clients & getting totally burned out.
Learn how to set up Adobe Premiere Pro for HDR workflows and to make Apple Retina's displayP3 monitors 'accurate' for web-based deliverables.
Team Mixing Light tackles two problems creating a DCP. We also discuss proper troubleshooting techniques for any post production problem.
We get a lot of questions about picking a color-accurate monitor for grading. In this episode listen to our thoughts on things to consider.
Team Mixing Light discusses the Resolve Advanced Panel, compares it to the less costly Mini, and asks if the larger panel is worth keeping?
Learn how I've evolved my grading suite in the past 2 years. I added new hardware and adjusted my layout to fit new, advanced workflows.
In Part 2 of this Series, learn the details of an indie film navigating ACES between DaVinci Resolve, Premiere Pro, and After Effects.
Learn about Cinematiq's DCP Transfer application for streamlining EXT2 DCP driver deliveries - without having to jump in the Terminal!
The ACES color management workflow is a key technology for major Hollywood productions. Learn how an Indie film implemented ACES.
Working as a freelance colorist seems like freedom and flexibility. But what do you do on vacation - and the client has urgent revisions?
Premiere Pro has strict, but hidden, color management. Learn how to setup the software and hardware for proper color management & finishing.
The XDR looks like an impressive display from Apple but - is it a reference monitor? It sure is priced like one!
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.
At WWDC 2019 Apple took the wraps off a brand new Mac Pro & a new HDR display. In this Mailbag, Team Mixing Light discusses the new Mac Pro.
DaVinci Resolve 16 is very exciting. But it's currently in 'Public Beta'. What does that mean? Can you update to it safely?
We take a look at Game Of Thrones Season 8, Episode 3 and ask, as creative professionals, was it too dark and where did it go wrong?
Team Mixing Light tackles a member's question on how to handle a DP who doesn't trust any monitor in a facility?
Failure is a part of any business, but how you process and recover from failure can make a big difference on how you succeed next time.
A video review of how PixelTools uses the native tools in Davici Resolve to construct custom looks and utilities with PowerGrades.
High Dynamic Range color grading is challenging. Listen as we discuss a question about HDR > SDR tone mapping and how to handle expectations?
Resolve 16 adds hundreds of features, including powerful new adjustment clips. Learn how to use them streamline your grading workflow.
The Team discusses a new training title we produced for Dolby about creating Dolby Vision content. Plus, Our thoughts about NAB 2019.
Dan shares his breakdown of cleaning up a bike frame using the color compressor and node resizing in Resolve
In Part 3 of this series, you learn about the evolution of digital video from Standard- to High- Dynamic Range. Why is it here to stay?
Dan shares his thoughts behind his solution to removing a reflection using Resolve's Color Page - on a 16mm shot with moving grain structure.
Did you know Premiere Pro CC 2019 has three project types? Standard, Shared, and Team. How do you choose & what are their differences?
Troubleshoot an interesting problem for a more in-depth understanding how Resolve Color Management (RCM) works.
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!
Learn how to avoid two problems when color correcting using Premerie Pro's Lumetri workflow. It's all about recovering clipped detail.
Maybe you've heard of blockchain? Learn how this new technology is going to impact the post production industry (and what's holding it back).
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
Take an introductory look at the Color Decision List (CDL) and learn about the strengths and weaknesses of an ASC-CDL based workflow.
Team Mixing Light revisits the idea of using a single large format monitor in a color suite. Is it a viable solution?
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.
Dan shares his story from a recent "not so near-set grade" for an upcoming collaboration with friends on a short film.
Learn how to deconstruct a pre-built Fusion animation that ships with DaVinci Resolve. After studying one, we revise our animation to match.
Building out node trees on the DaVinci Resolve Color page can be a messy affair. And haphazard. Learn how to develop a personalized node tree.
These 'don't miss' color grading related articles and videos are culled from 2018's 4th quarter of the weekly curated Tao Colorist Newsletter.
Team Mixing Light discusses a member question about HDR: Is here to stay and should they be investing in HDR tech?
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.
Robbie, Joey, and Pat answer a member's question about how to handle periods of feeling creatively empty in the color grading suite?
Dan shares his thoughts on trying to clean up his grades in 2019 and moving away from his favourite film emulation techniques.
In this Insight, Robbie takes a look a the new 2018 Apple Mac Mini and how he's using it in his color suite.
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.
Multiple members have recently written asking the same question: Is it a colorists' responsibility to archive media and project files?
Dan shares his technique of using the multiply blending mode to recover highlights easily and naturally via a layer node.
Team Mixing Light discusses color correction business issues. Mixing Light's Dan Moran (who recently went independent) is our subject.
While creating a Western look, learn how to use a color space transform with a film print emulation LUT in DaVinci Resolve.
In part 3 of our ongoing Dolby Vision series, learn about big changes to Dolby Vision & Resolve in 2018, plus new tools & workflows.
The 5 'pillars' of the digital video revolution evolve at a different paces - but are driven by the same force. We covers two more pillars.
Team Mixing Light is once again joined by Joey D'Anna to discuss integrating graphics and text into Dobly Vision HDR projects.
In this Insight, Robbie looks at 5 pre-grade tips that can help you increase your overall session speed when it comes time to grade a project.
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.
If you want to upgrade from an earlier version to DaVinci Resolve 15 then how do you do it safely? This checklist will help you out.
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.
Designed for sharing database on several computers in DaVinci Resolve, learn how the Resolve Project Server App simplifies your life.
We discuss if professional colorists should be standardizing every project around color management systems like RCM & ACES?
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 the 'rules' when exporting LUTs in DaVinci Resolve 15. You also learn how to break a LUT to understand the problems with many LUTs.
The Team discusses a question we've been getting a lot: Is it worth getting the FSI XM650U over a 65" LG OLED?
Take charge of all the audio sync functions from inside of Silverstack XT and LAB! Learn manual and automatic double-system sound sync.
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.
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.
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.
The latest release of DaVinci Resolve 15 is very exciting. But it's currently in 'Public Beta'. What does this term really mean? And how can you update to it without putting your computer (or your projects) at risk?
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 .
Learn what one colorist thinks of DaVinci Resolve 15 Public Beta the first time he launches it. Not on the trade show floor in Las Vegas where he first saw it... but in quiet of his suite. And discover the huge new feature no one is talking about!
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.
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.
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.
If you want to calibrate your reference display through your main non-linear editing software then you want to use calibration test patterns playing through a timeline. Learn how to be sure you don't have Data- and Video- level mismatches.
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!
The Team discusses the pros/cons of 4k monitoring. We explore new offerings from Flanders Scientific including the XM650U and XM310K.
In our reference display calibration series we've been using a specific set of calibration test images. But two test images (used to precalibrate our Contrast and Brightness settings) generate a lot of confusion. Get unconfused in this Insight.
In this special Insight, Bram Desmet CEO & General Manager stops by Robbie's studio to take a look at the brand new FSI XM650U UHD OLED HDR Monitor. Learn about the essential design of the monitor, its capabilities and how it might help you.
If you have a broadcast reference monitor for editing and color correction then you need to make sure it's properly processing your images. Learn how to know if you have a mismatch in data levels with your editing or color correction software.
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.
In this CalMAN Studio series you've learned how to calibrate a video reference display using Look Up Tables (LUTs). Not every display supports internal LUTs. If you don't have (or want) an external LUT box then what do you do then? Watch and learn.
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.
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!
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.
Part of Magic Bullet Suite, Denoiser III has been rewritten from scratch. Its simplified UI makes it easy to use. But can we expect the same kind of results than a more expert plugin like Neat Video? Let's get a closer look and make comparisons.
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.
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.
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
Xrite makes a terrific, affordable colorimeter for the broadcast display market - the i1 Display. We test an old C6 to see how accurate it can be.
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.
Colorimeters age and become unreliable after a few years. Learn how to extend the life of yours, using CalMAN Profiles and a reference colorimeter.
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.
Learn how to improve your display calibration results when using CalMAN Studio. And does using a 'Lightning LUT' compromise your final results?
In this installment of Color Correction Gear we take a look at Intel NUC mini computers, Procool Rackmount fans, & Cinemaquest LED Bias Lighting
Dan shares his thoughts about the UKMVA nominations 2017 for best music video color grading award and asks you to predict the winner
Begin learning how to calibrate your color correction Reference Display by seeing how to calibrate your colorimeter for highly precise measurements.
In this episode, Josh talks to legendary colorist Bob Festa about his gigantic body of work, grading techniques and much more!
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
If you use DaVinci Resolve to color correct with Color Charts then should you change your workflow in DaVinci Resolve 14? The answer isn't simple. Or is it?
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
An old school technique that is still regularly used today in commercials. Having a break between grading the same footage has huge advantages.
When you start delving into the finer points of color correction you'll eventually learn about Gamma 2.2 vs Gamma 2.4. Learn how to choose between them.
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
In this Insight, Joey D'Anna shares some of what went into the design of his color suite, why he loves Aeron chairs, TBC consoles and more!
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
In Part 3 of our series, you'll see the different input devices I've experimented with and the computer displays I'm using... with eye toward ergonomics.
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
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.
Sending before & after stills is part of our life as a colourist. Dan shares his template and thoughts behind using a branded PDF to send to his clients
The hardest part about color correction is not learning new software or pushing buttons but communication with clients. Learn more in this Insight.
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 ARRI Alexa Mini is a great camera - and it color corrects beautifully in ACES. Learn how to confirm your color pipeline (in DaVinci Resolve).
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.
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.
Among Resolve 14's great new features, the redesigned collaborative workflow stands out. In this Insight, learn the essentials of Resolve collaboration.
A 2-part interview series for media pros talking about the challenges Mac users face when moving to the PC elicited many questions. Here are the answers.
Pressure is an unavoidable part of being a professional colorist. In this Insight, learn strategies to alleviate pressure so you avoid a complete meltdown!
Like flying cars, the 'Studio' concept of post-production was promised for generations. At NAB 2017 we have the first actual implementation in Resolve 14.
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?
On this installment of the Colorist Podcast, Josh talks to famed calibrator Dave Abrams of Avical about display technology, HDR & getting great calibrations
Get a tour of essential software a DIT uses on-set to execute the important tasks of handling (and handing-off) metadata, playback of clips and transcoding.
Learn about changes and new features for Mixing Light members with the newest version of our Website - Mixing Light 2.0.
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.
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.
In this installment of Color Correction Gear Head Robbie talks about some recent gear & software finds to make life in the color suite easier
Are you interested in working On-Set? The 'Data Downloader' is a key player in digital productions. Learn the basic tools of the trade.
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
Client perception about you & your business plays a large role in winning work.In this Insight learn how to shape client perception
DaVinci Resolve's 'Color Match' function is simple but can be confusing. Learn how to properly set up Color Match in ACES workflows.
DaVinci Resolve's 'Color Match' is terrific for Color Charts recorded on-set. Learn the tricks to this feature if your Footage is RAW or Log.
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.
Dan jumps from commercials to features in this series and shares his guide to getting organized and plan for efficient feature grading
Team Mixing Light discusses choosing colorist reference monitors. Plus, using LG's consumer OLED televisions in our color suites.
In this Insight, Robbie shares some hard-won tips on what to do when you screw up the pricing on a flat bid & how to prevent these mistakes.
Learn what settings to use in Premiere Pro CC when Scaling in XML workflows. And the settings to use for importing into DaVinci Resolve.
If you have problems exporting XMLs with image sizing from Premiere to DaVinci Resolve, this video explores the settings you need to know.
In this episode of the colorist podcast, Josh talks to industry veteran/legend Dale Grahn about his storied career & many other subjects
Robbie, Pat, and Dan discusses the look of the series 'Westworld' and our look creation philosophies when color grading.
If you send your timelines from Premiere Pro CC to DaVinci Resolve then you know resizes often fail. Your 'Frame Size' selection is the key.
The Color Correction Gear Head Series is back! This time around we cover a video router, a couple sets of adapters, and a streaming solution.
Learn how to use the 'Offline Reference Clip' to see what the final approved timeline looked like - while color correcting in DaVinci Resolve.
The Team discusses GPUs for the colorist and how to select one. Plus, tech we've discovered we can live without, and tech we can't.
Are you having problems deciding how to attack color correcting your images? Learn how to quickly generate ideas in this video.
In part 2 of this ongoing series we take a look at popular Windows PC turn-key solutions & the essentials of PC hardware components.
If you're having trouble with DaVinci Resolve's built-in Media Manager then check out this video featuring 'Resolve Collect'.
Part of a larger series, we finish conforming a timeline and start managing media off a client hard drive onto our RAID, in DaVinci Resolve.
In this Insight, Robbie shares a number of new year resolutions for potentially improving your business & color grading.
When importing a timeline & conforming in DaVinci Resolve, problems occur. See how we methodically solve frame rate & sync problems.
In this episode of the colorist podcast Josh talks to colorist Ayumi Ashley from Mission Film & Design about her work & career
When importing a timeline into DaVinci Resolve, learn how to find and solve 'reel conflicts'. Plus, learn to solve a 'Force Conform' error.
Importing XMLs into DaVinci Resolve can be frustrating. Sometimes, a change in Resolve's 'Conform Options' settings can save the day (or not).
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
Learn how to prepare to Media Manage an XML, and get footage off your client's hard drives and onto your high-performance RAID.
In Episode 6 of the Colorist Podcast, Josh Petok talks to commercial colorist Rob Bessette about his career, grading commercials & more!
If you need to move a timeline from Premiere Pro or Final Cut Pro for color grading or finishing then learn how to prep it for an XML Export.
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.
If you move your timeline from one bit of post-production software to another then you need to know the 'Golden Rule of Conforming'.
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.
Watch how to White Balance (or Color Balance) digital video images. You'll explore 4 different tools and learn their differences.
In Episode 5 of the Colorist Podcast, Josh talks to well-known online editor & colorist Terence Curren about his work & other sujbects
In this installment of Color Correction Gear Head, learn about essential gear & items you'll need to rewire & install gear in your room.
When Your Director Is 6000 Miles Away In this Insight I’d like to share an experience I had this week. I had a room full of clients in London but…
First Look: How to use the Color Finale Pro plugin with a Tangent Ripple in FCPX for a professional grading workflow.
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.
Resolve users are often tasked with making final outputs.In this Insight, learn how to easily route multi-channel audio for output.
In an earlier video we showed you the 'mouse math bug' when color correcting in DaVinci Resolve—now learn how to work around it.
The DaVinci Resolve Control Panel gives you the most hands-on control of Resolve. In this Insight, learn about the design & functionality.
In Episode 4 of the Colorist Podcast Josh talks to well-known freelance colorist Mark Todd Osborne about his work & many interesting subjects
Does the color correction math in DaVinci Resolve change depending if you're using a mouse versus using a colorist control surface?
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
DaVinci Resolve 12.5 has introduced some new Stereo features... to support HDR workflows for High Dynamic Range color grading. Learn more...
In this Insight, discover 5 strategies for convincing clients to grade with you rather than color correct projects in-house.
In Episode 3 of the Colorist Podcast Josh talks to well-known finishing artist & colorist Gray Marshall from Technicolor L.A. about his work.
What's new in the DaVinci Resolve 12.5.1 Update? Learn about new features, new behaviors and general observations about this latest update.
With constrained budgets, clients can't always afford your services. But maybe you can modulate your time and effort to meet their needs?
If you're color correcting digital video for professional distribution, nothing is worse than having it rejected for RGB Gamut excursions!
Color management can be complex. We talk to FSI's Bram Desmet about their new BoxIO Lut box and how it can help on-set & in post.
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
In this Color Correction Gear Head, Robbie takes a look at the zBook Studio From HP, the GeChic 1303i monitor, Tangent Ripple & CineXtools
Conforming timelines can be time-consuming before you even start color correcting. Learn the common issues (and how to fix them).
You always deliver final video files but should you deliver project files to your clients too? Learn more in this Insight.
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
Get a look at the new features in Premiere Pro CC 2015.3 for existing color correction tools, including the Lumetri Effect.
Every once and a while you'll need to create a stylized bad TV or surveillance camera look. In this Insight learn how.
Learn how to create a Virtual LUT and decide if it'll make your color correction reference monitor more accurate? Software:CalMAN & Lightspace
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.
Supervised color grading is hard! In this Insight, Robbie shares 5 strategies for managing a supervised session.
Optimizing for CalMAN the X-Rite i1 Display Pro and SpectraCAL C6 is easy. Learn how—and the differences between these colorimeters.
If you do video color correction, watch 'Getting Started with CalMAN ColorMatch' to learn how to test if your reference display is accurate.
Learn how using Custom Offsets with the i1 Display Pro OEM can turn this inexpensive colorimeter into a reference meter you can trust.
The X-Rite i1 Display Pro is the most popular colorimeter on the market. Learn how to use it in Lightspace for video profiling & calibration.
Learn how to read the graphs in Lightspace DPS, to evaluate if your display requires calibration for color correction.
In this Insight, Robbie explores how through VPN & BitTorrent sync he was able to leave the office earlier & still work!
'Does my color correction display need recalibration?' Getting Started with Lightspace DPS (a free app) helps you answer that question.
If you do video color correction, do you know if your reference display is accurate? Learn how to find out. The first video in a series.
These 12 New Features in Resolve Studio 12.5 may finally get you to upgrade to the paid version. See some of them in action.
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.
If you're using Dropbox and DaVinci Resolve as a server for your disk databases, that's not a good idea! Learn why...
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…
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.
It's a busy day for Team Mixing Light as we discuss our NAB 2016 plans, log style color grading and handling sRGB deliverables.