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
What does binary logic have to do with color grading? Colorist Joey D'Anna shows you how to build switches and logic into your Resolve node structure.
In this Insight, Joey D'Anna shows you how to use the DaVinci Resolve Match Move ResolveFX plugin for powerful tracking, stabilization, and paintwork
In his latest Custom Workshop, Colorist Joey D'Anna gives you 3 useful custom Fusion templates for use on DaVinci Resolve's edit page
In part 3 of this ongoing series, with foundational knowledge in place, start coding your first DCTL a colorist Cullen Kelly guides you step by step.
In Part 2 of his series on coding DCTLs, Cullen Kelly covers some additional setup and tools you'll need to successfully build DCTLs
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
Learn how to add serious production value to live-streamed color sessions with Blackmagic ATEM Mini switchers.
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.
Learn the basics of 3D printing, and how you can use it to improve your post production environment with custom upgrades.
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.
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,
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.
Cullen shows how to put the analysis of reference images + analysis of shots on the timeline together to create a cohesive, matching look.
Learn how to accelerate your color grading in DaVinci Resolve's Color Page by using multiple Playheads to quickly navigate the timeline.
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.
Learn what a online editor and colorist thinks after spending a year working with the Blackmagic editor keyboard, full-time. Plus, his tips.
Learn how to use a custom ACES workflow to easily manage deliverables in different color spaces, and easily take your grade from SDR to HDR.
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
Creative decision-making on a stuttering timeline is no fun. Learn what you need to know about playback performance within DaVinci Resolve
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
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.
DaVinci Resolve's Quick Export is often overlooked because it looks simplistic. Learn how to power up Quick Exports and save yourself time.
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
In this Insight, Robbie reflects on 2019 and shares some of his goals for 2020 to help run a stronger color correction buisness
Learn how to use Keyboard Maestro and Stream Deck to supercharge your workflow in DaVinci Resolve on Mac with powerful macros.
In this installment of Color Correction Gear Head, Robbie shares some essential items that went into the building of his new facility.
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.
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?
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.
Do you doubt your ability to color correct moving images? Are you constantly re-doing your work? Learn what's going wrong and how to fix it.
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?
In this Insight learn several strategies for not resenting projects and clients & getting totally burned out.
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.
Learn about Cinematiq's DCP Transfer application for streamlining EXT2 DCP driver deliveries - without having to jump in the Terminal!
Working as a freelance colorist seems like freedom and flexibility. But what do you do on vacation - and the client has urgent revisions?
The XDR looks like an impressive display from Apple but - is it a reference monitor? It sure is priced like one!
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.
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.
At NAB 2019 with 5 hours of 'me time', in Part 1 learn what I though was significant in Resolve 16 and Mistika Boutique.
The Team discusses a new training title we produced for Dolby about creating Dolby Vision content. Plus, Our thoughts about NAB 2019.
Team Mixing Light revisits the idea of using a single large format monitor in a color suite. Is it a viable solution?
A successful commercials colorist color grades dailies. He shares his challenges, mistakes, and how it's different than commercials.
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.
My list of key software utilities for post production professionals may help you a solve annoying (or critical) problems. For Mac & Windows.
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.
Team Mixing Light discusses a member question about HDR: Is here to stay and should they be investing in HDR tech?
Robbie, Joey, and Pat answer a member's question about how to handle periods of feeling creatively empty in the color grading suite?
In this Insight, Robbie takes a look a the new 2018 Apple Mac Mini and how he's using it in his color suite.
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?
Team Mixing Light discusses color correction business issues. Mixing Light's Dan Moran (who recently went independent) is our subject.
In part 3 of our ongoing Dolby Vision series, learn about big changes to Dolby Vision & Resolve in 2018, plus new tools & workflows.
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.
Dan & Robbie describe watching colorists grade HDR for the first time, while competing! Plus, Mixing Light's partnership in China.
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.
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.
The Team discusses a question we've been getting a lot: Is it worth getting the FSI XM650U over a 65" LG OLED?
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.
Are you looking for ideas on programming your El Gato Stream Deck or Razer Orbweaver to speed up color correcting? Get some tips about focusing your efforts to reduce 'mouse travel' - increasing your productivity.
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.
In this 'Resolve Mini' control surface Video Review, see several exciting features in action - plus a bug that confuses things.
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.
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?
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!
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!
The buzzwords at NAB 2018 were Artificial Intelligence and Machine Learning. This Insight is an introduction to those terms (for filmmakers). Learn how to put those buzzwords in context; and how they inform you about the technology being discussed.
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.
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.
Silverstack is much more than just for downloading. Learn how to use its in-built color correction tools and management system to enhance the previsualization process and to visually communicate the DP's ideas from on-set color to post.
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!
Team Mixing Light discusses strategies for moving Resolve PowerGrades, PowerBins & project configurations between databases.
Colorist & DIT Ryan Nguyen continues his series on Pomfort's Silverstack with a deep dive on the Offload Wizard. Including saving and managing offload templates, using wildcards to create custom offload directories and evaluating download progress in the Jobs Sheet page.
Dan 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 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.
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 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.
A member asks a question about working in Full Range but delivering a video rendered to legal/broadcast levels. We work through the thinking.
In this second insight of a series with Pomfort Silverstack, you take a first-contact look at the user interface to overcome the initial fear of learning a new software. Explore the various layouts and workspaces available to better understand how you navigate the program.
We all know that a good cart is essential to a DIT's kit. But what if there is no room for your cart? What options do you have when size becomes a cause for concern? Get a list of differently-sized DIT Carts for odd situations.
Team Mixing Light answers a member question about using the Judd Modification for an OLED reference monitor. What is it? When to use it?
QC and media inspection are an essential part of 'finishing' process. In this Insight, Robbie shares his experience with Telestream Switch which is a full featured media player, inspector and QC tool.
In the first installment of the Colorist Podcast for 2018, Josh sits down with well-known colorist Ian Vertovec from Light Iron. They discuss Ian's work, ACES, HDR, VFX workflow and much more!
Building on Robbie's recent articles, Pat and Dan ask questions about workflow and Robbie's recent trip to Dolby in Burbank, CA.
FCPX 10.4 update introduces some long-awaited color correction features, like wheels and curves. This Insight reviews the standout points of this new color correction toolset - and gotcha's you should understand.
As a DIT, at some point you will be asked, "What hard drive do you recommend for our shoot?" Before you answer, ask yourself: Is your favorite hard drive the proper drive for THIS job?
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.
The Elgato Stream Deck is a powerful control surface add-on for colorists, especially when paired with autohotkey. In this insight, learn to take that functionality to the next level with advanced scripts and workflow examples.
In Part 1 of this series, get an overview of Pomfort's Silverstack, its various versions, and subscriptions; plus learn the difference between Digital Imaging Technician (DIT) and Digital Loader.
White balancing is a basic color correction task. And Temp or Tint controls are often a time-saving shortcut. But they don't always work. Learn why?
In this installment of Color Correction Gear we take a look at Intel NUC mini computers, Procool Rackmount fans, & Cinemaquest LED Bias Lighting
Designed for gamers and streaming is the El Gato a suitable control surface supplement for colorists? In this Insight, learn about the Stream Deck
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!
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?
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
The Team fields a member question about how we set up the sensitivity of our colorist control surfaces? How do we decide?
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 this installment of the Colorist Podcast, Josh talk to colorist Juan Ignacio Cabrera about his work on cutting edge projects & many other subjects.
As creative professionals working in post production, you are tied to your chair and desk. This Insight shares the fundamentals of healthy workspace design.
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.
The Team discusses our new Resolve 14 New Features title as well as DaVinci Resolve Remote Rendering with guest Joey D'Anna.
In this installment of the Colorist Podcast, Josh is joined by colorist Vanessa Taylor. From balancing tech & art, grading HDR this is a great listen!
In this Insight, we put Part 1 into action and explore the powerful workflows possible with Resolve 14 collaborative workflows.
Are you wondering about buying a Color Correction Control Surface? This article explains the benefits - following one colorist making the transition.
If you need to buy a high-performance video post production computer today, then you're looking at a PC. Here are more answers to questions of Mac users.
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.
On this installment of the Colorist Podcast, Josh talks to famed calibrator Dave Abrams of Avical about display technology, HDR & getting great calibrations
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.
Professional DIT Rich Roddman shares his heavy duty digital download kit for on-set data wrangling,helping his buisness grow.
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 Part 2, Eric Bowden of ADK Video highlights the importance of optimizing PC hardware to your specific workflows, codecs and software.
In this installment of Color Correction Gear Head Robbie talks about some recent gear & software finds to make life in the color suite easier
Want to make a DCP directly from Resolve? In this Insight, Robbie explores the essentials of using the EasyDCP Resolve plugin.
In this episode of the colorist podcast, Josh talks to Technicolor senior colorist Peter Doyle about his amazing career & many other subjects
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
In this episode of the colorist podcast, Josh talks to industry veteran/legend Dale Grahn about his storied career & many other subjects
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.
Get an overview of how the Logitech G13 Gaming keypad works - with ideas on how it can speed up your video post-production workflow.
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.
In part 2 of this ongoing series we take a look at popular Windows PC turn-key solutions & the essentials of PC hardware components.
In this Insight, Robbie shares a number of new year resolutions for potentially improving your business & color grading.
When importing a timeline into DaVinci Resolve, learn how to find and solve 'reel conflicts'. Plus, learn to solve a 'Force Conform' error.
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
In Episode 6 of the Colorist Podcast, Josh Petok talks to commercial colorist Rob Bessette about his career, grading commercials & more!
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.
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
In this installment of Color Correction Gear Head, learn about essential gear & items you'll need to rewire & install gear in your room.
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.
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
A hands-on overview of the most affordable color correction control surface on the market today—the Tangent Ripple.
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
In Episode 3 of the Colorist Podcast Josh talks to well-known finishing artist & colorist Gray Marshall from Technicolor L.A. about his work.
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 looking for ideas on controlling excessive saturation in DaVinci Resolve, this tutorial will offer some food for thought.
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).
Learn how to optimize Tangent Control Surfaces for Premiere Pro with the Tangent Mapper—and massively speed up using Lumetri color effect.
The first Creative Cloud update in 2016 has given us integration between the Tangent Element and Premiere Pro. This video shows it in action.
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
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.
In this Insight, Robbie explores how through VPN & BitTorrent sync he was able to leave the office earlier & still work!
If you're looking to improve your color correction ergonomics for your editing or color correction suite - this post has some ideas for you.
Another April, another version of DaVinci Resolve! In this Insight, Robbie shares his top new features of this exciting release.
The Team answers a member's question about sharpening quick focus pulls. Plus they discuss using the HP Z27x DreamColor display.
Shot matching in Premiere Pro CC is the second step in The Color Correction Protocol. Learn how to stack filters and get the job done!
DaVinci Resolve's 'Scene Cut Detection' workflow can be efficient. But it gets confusing if you've got revisions—here's one way to handle it.
It's a busy day for Team Mixing Light as we discuss our NAB 2016 plans, log style color grading and handling sRGB deliverables.
How do you color correct Picture-In-Picture effects in DaVinci Resolve, when all you have is a single rendered movie of the entire timeline?
Using Luts in a color correction workflow is common, but everything doesn't always worked as planned. Learn 4 ways to work around look up table limitations
Being a busy colorist is a good thing! But when you get too busy, you have to think about how to handle overflow work or when to just say no.
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
The Waveform & RGB Parade are essential tools for color correction. But when working with HDR footage in Resolve reading them can be slightly confusing.
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.
Pesky warning messages about inaccessible cache & still locations in Resolve can be a nusiance. Learn how to fix them in this Insight
In this episode, Team MixingLight discusses HDR and best practices for setting saturation levels for log encoded footage
Neat Video is a popular noise reduction plugin for a variety of platforms. In this Insight Robbie explores the plugin now in version 4.
In this installment of From The Mailbag we discuss how to isolate and sharpen edge details, and discuss a proper video noise reduction workflow
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.
Learn how to maximize your color correction speed if you're using a Tangent Element or Avid Color by optimizing X-Keys, a low cost USB hardware add-on.
In this Insight, learn the essentials of working with RED HDRx media in DaVinci Resolve to get the most out of an exposure and the look of a shot.
Learn how to create custom workspaces for speeding up your color correcting in Premiere Pro CC.
In any creative venture including color correction the feeling of failure is always lurking. Learn how to fight the feeling of failure.
Two monitors may not match even if calibrated to the exact same color and luminance values. Learn how to perceptually match two monitors
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
Resolve Color Management (RCM) is powerful workflow tool but using it with Raw footage can be slightly confusing. Learn more in this Insight
Resolve is a capable finishing tool not just for video but for audio as well. In this Insight, learn how to configure multi-channel output
In this Insight, learn how to leverage DaVinci Resolve's powerful rendering engine to render multiple projects and timelines all at once.
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
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 updated Insight learn what gear you'll need and how to properly setup a shared database in DaVInci Resolve.
A tutorial and overview of using Colorista III in Final Cut Pro X. Learn how all it's tools work and why you might want to buy and use it.
In this video, contributor Josh Petok shows how to setup the X-Keys XK-24. It's a perfect companion to many colorist control surfaces.
This is a video overview and breakdown of the FCP X color correction plug-in 'Color Finale'
In this Insight, contributor Josh Petok shows a straight forward but very effective way to use Resolve's curves to deconstruct a look.
In this Insight, learn how to use Post-Clip in DaVinci Resolve's grouping behavior as an alternative to timeline level grades
Action cameras and other wide angle lens can have some pretty severe lens distortion. Check out this Insight to learn how to remove it.
In this Insight, learn what RGB Gamut errors are and how to identify them before a broadcaster catches them for you!
In this Insight, Robbie gives an overview of Project Candy from Adobe & how it has the potential to inspire and help with color references.
Do you want to color grade more shots in a single working day? Part 3 gives you solid tips for increasing your daily shot count.
With LUTs so common place in modern color grading sometimes you need to visualize and convert them - Lattice can help!
How long will it take you color correct a 10 minute timeline? In Part 1 of this series, we discuss the anatomy of a color correction session.
In this installment of From The MailBag we take a look at file naming and project organization as well as tips for sharpening footage.
Do you find it difficult to make precise Final Cut Pro X color balance decisions? This video tutorial will give you ideas for fixing that.
In this installment of From The Mailbag we explore the idea of a rolling conform in Davinci Resolve and using Dropbox to share databases
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.
What's a quick and efficient color correction workflow when collaborating with a client? Part 1 shows you, using Resolve's Grouping feature.
Learn how to 'hack' DaVinci Resolve Project Presets so you can easily share them in other databases - or on someone else's computer.
If you want to learn how to wield Project Presets in DaVinci Resolve like a ninja, then you must understand Presets—which ain't easy.
In this Insight, learn how powerful shaping skin contrast around someone's face can be to make a shot more dynamic.
Helicopters can hover, so can helicopter clients. Learn how to deal with micro managing clients in your next grading session.
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.
Are you looking for a reliable color match workflow for DaVinci Resolve? Learn how to get the most from Resolve's 'Color Match' feature.
In this From The Mailbag, we cover two GPU questions. Should you upgrade your system or GPU & does GPU debayering for RED footage work?
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
DaVinci Resolve's 'Color Match' feature can be tricky. But if you follow the 'Brightness First' Rule, you'll probably get better results.
If you've tried to match multiple cameras together using color charts, you've likely found it difficult. What's the problem you're having?
Premiere Pro has a powerful 3-Way Color corrector but by default its tonal range is narrow. Learn how to get better grades by adjusting it.
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
Understanding the Final Cut Pro X Exposure Slider is critical to knowing how to color correct in Final Cut Pro X. Click and discover: Why?
Check out this episode of From The MailBag to learn about grading of Vimeo/YouTube & When to use an SSD For Resolve's Render Cache.
Everyone wants to get better at their craft. In this Insight learn about how to overcome 5 common barriers to becoming a better colorist
Photoshop pros are learning the power of LAB Colorspace. This is the first of several videos on applying those Insights to moving images.
Learn how to take a list of Look Up Tables in Resolve and make it into a visual LUT Library. This workflow can be used in any version of Resolve before Resolve 15 (which introduced a built-in LUT Library).
Divergent Media's ScopeBox not only provides high quality customizable scopes but a full fledge digital recorder for capturing content.
If you have to color correct multiple versions of a timeline, DaVinci Resolve's Remote Versions is a feature you need to know.
SpeedGrade CC 2014.1 offers an updated Interface, New Features and some new tools. Check out this Insight To Learn More
It's easy to be stagnant always using the same tools. In this Insight learn how different tools can help you break a creative block
Do you need to color balance every shot in your video? What are the best strategies to color balance and enhance gray skies? Listen & learn.
In this episode of From The MailBag learn about what to do when you have no client direction & how to achieve that national spot look
Part 2 in the series, learn how the smart render cache can speed up your workflow by caching footage, effects and grades automatically .
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.
Are you having problems with full frame rate playback in DaVinci Resolve? Learn how to use Resolve 11's redesigned Render Cache.
Group grading in Resolve 11 has been totally revised.In this Insight learn how to get started & how to use group grading in your own projects
In this installment of From The Mailbag we discuss two questions about video legalization & using R3D trimming in Resolve with Remote Grades
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 Insight, learn how to apply Looks/LUTs & burn-in metadata for dailies & screener workflows using Adobe Media Encoder.
Learn techniques for masking and tracking in Premiere Pro CC in this color correction tutorial from a professional colorist.
Annotations in Adobe SpeedGrade are a powerful way to make notes directly on footage while you're grading. Learn how Annotations work.
Learn a quick and easy method to create a 2- or 3- tone color wash over a moving image very very quickly - especially if you have a very specific color palette you want to use.
In this video we try matching shots with LUTs applied - and leanr how using the RGB parade scope helps us get the job done.
A hardware video legalizer like the Harris DL860 does a much better job than software legalization. Learn more about how this unit works.
When color grading, unsupervised sessions can be difficult. In this Insight, learn strategies and techniques to handle these types sessions.
Learn how ripple your color corrections through multiple timelines in DaVinci Resolve using the power of the Master Session.
Color grading composites, like picture in picture effects, from a single render is hard. Learn how to attack these shots in DaVinci Resolve.
Learn how the Double Side Technique can help you to create more dynamic color corrections on flat or boring shots. This simple technique can generate multitudes of stylized Looks.
In this Episode Of From The Mailbag, we discuss the pros and cons of Resolve vs SpeedGrade. As well as how to manage versions in Resolve.
Have you ever wondered how other colorists organise and run their jobs? Now is your chance to see a real commercial workflow in action.
This video tutorial is an overview of the integration between Tangent Element with DaVinci Resolve, focusing on new features in Resolve 10.
A powerful new feature in DaVinci Resolve 10 is Resolve Live. Learn the essentials of how to his feature works & can help you on-set.
Why do professional video colorists love controls surfaces? Watch the Tangent Element with SpeedGrade CC highlighting a few advantages.
In this episode of From The Mail Bag we discuss getting out of creative funk & consolidating a multi-reel project in Resolve.
Learn about the Tangent Element colorist control surface and see how one professional colorist sets it up in his color correction suite.
In this episode of From The Mail Bag we discuss what's in store for Mixing Light in 2014 & discuss how to grade a film shot in one take.
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 installment of the Fake Film Trailer, I start color correcting Red Dragon footage. It's my first time working with this camera.
It's easy to get lost in the weeds when color correcting. Learn a Color Correction Time Management technique that keeps you from missing deadlines!
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.
Three professional colorists discuss how to emulate LightRoom's Clarity Slider in DaVinci Resolve. Plus, where color correction fits in VFX workflows.
In Davinci Resolve, learn how to create a custom Log Grading keyboard shortcut - giving quick access to this 3-Way Color Correction panel.
Learn how you can create a window and use the new node PTZR controls hide a dead pixel, water spot or other unwanted item in that shot.
Do you ever wish you could work on a perfect duplicate of an HSL key you created in DaVinci Resolve? Learn tricks for doing that (and avoid copy/pasting).
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.
Learn how to make a global correction to the brightest and most intensely saturated areas of an image without tediously creating nodes for each shot.
If your client is asking for changes in your color corrections that effect entire scenes then here's how to quickly make those fixes in Avid.
You can learn my tips and tricks to prepare for a client-supervised commercial color correction session. it's not just about your skill. Preparation counts.
Do you want to learn how to color correct faster on Avid Media Composer? Build on our earlier customizations with these super-fast Avid shortcuts.
If your clients are asking for you to render out 'handles' after color correcting their job then this Insight will help sidestep some pitfalls.
The key to being fast in Avid Symphony is mastering the keyboard and interface. Learn how you can customize Avid, tuning it for color correction.
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.
Learn how you can trim RED footage and copy to your hard drive only the portions of your clips needed to recreate your timeline, saving hard drive space.
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.
Learn how you can track foregrounds, backgrounds + copying and pasting tracks and how to deal with objects moving behind other objects while tracking.
Do you have burning questions about color correcting music videos? Professional colorist Dan Moran, CSI is here to give you his answers.
Learn how to use a color correction exported as a LUT and use it in Photoshop. Plus—a small caveat in this workflow (about how Photoshop applies LUTs).
This workflow is an ultimate timesaver and involves getting a single flattened video clip of the project you're grading and using Resolve to slice it up.
If you're having trouble getting real-time playback in DaVinci Resolve then try this tip for creating your own custom render cache.