In Part 3 of Hector Berrebi's 'Texture Management' series, learn what blur is doing to your images and build an Unsharp Mask using nodes.
In the start of a new series, colorist & educator Hector Berrebi defines the terms and tools of the important concept: Texture Management.
Colorist Jason Bowdach teaches you his approach to developing and evaluating technical PowerGrades (and how it helps your creative grading).
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
We've all seen the 1931 CIE RGB Chromaticity Chart but do you understand its importance to film and video? How does it map to human vision?
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
Cullen Kelly kicks off a new exciting series about DCTL coding. Learn the vocabulary, syntax, and techniques to create DCTLs to aid your color grading.
Help us celebrate the 160th Anniversary of the color photograph, its history, and the RGB color model! Presented by colorist Hector Berrebi.
Dan briefs you on a Black & White Tri-X look. If you grade to his brief and post in the comments, he'll play 'client' and offer feedback.
In Part 2 of this series, we dig deeper into the HDR Palette and continue exploring its differences from the traditional Primaries Palette.
In this Mixing Light Webinar replay, join Mixing Light co-founder Robbie Carman as he explores HDR essentials, including vocabuarly & workflow
Are you confused about what is ACES? What is it used for? How do you use and implement ACES within DaVinci Resolve? This webinar is for you.
An introduction into building a Kodachrome inspired look on Arri Alexa footage using Basegrade, Looks, Grain and Color Crosstalk
Dan plays client and dishes out a grade brief for a Modern Sci-Fi film that he'd like you to execute. Remember there are no wrong looks!
Working with new cameras is always a challenge. Get an inside look at what Dan does when working with the Fuji XT-3 camera
In this new series, Dan's grading the short film 'Origins' (using Baselight). It's got VFX, ACES, multiple deliverables (and light sabers).
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.
Dan answers some comments from members about why he adds his grain to the image at the very beginning of his node graph
The film and television production and distribution pipeline is quickly evolving to support wide color gamuts. What's pushing this change?
In Part 2 of this Series, learn the details of an indie film navigating ACES between DaVinci Resolve, Premiere Pro, and After Effects.
The ACES color management workflow is a key technology for major Hollywood productions. Learn how an Indie film implemented ACES.
Dan shares his thoughts on recreating tape based artifacts using the brand new Resolve 16 Analog Damage tool.
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?
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.
Take an introductory look at the Color Decision List (CDL) and learn about the strengths and weaknesses of an ASC-CDL based workflow.
Creativity makes us human. What is the place of AI in this area? If computers become too human, will we become just machines?
Dan shares his story from a recent "not so near-set grade" for an upcoming collaboration with friends on a short film.
Dan is back in part three of his unfiltered look at a recent grade. In this part we take a look at matching the externals in this 16mm style
These 'don't miss' color grading related articles and videos are culled from 2018's 4th quarter of the weekly curated Tao Colorist Newsletter.
Dan shares the opening part to his full unfiltered look at how he graded a music video in a 16mm film style.
Dan shares his thoughts on trying to clean up his grades in 2019 and moving away from his favourite film emulation techniques.
Finding the right balance of noticable and realistic is always a challenge. Dan shares behind the curtain on a film release print style grade.
Dan shares his technique of using the multiply blending mode to recover highlights easily and naturally via a layer node.
Digital video post production and color grading is rapidly advancing. Which technologies do you need to prepare for? And why?
Drone footage is a very common occurance on timelines these days. Dan shares his techniques for adding depth to the footage.
Sometimes we are gifted with better sun than other times. In this Insight Dan shares his experience on a job shot over multiple months.
For Dan's Inspiration July 2018 he shares his list of top colorists inspiring him in the summer of 2018 with their amazing grading work.
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.
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.
The only person that is going to inspire you is yourself. A Look Library surrounds you with inspiration keeping you motivated and current.
What makes an award-winning grade so special? Dan attempts to break down what made the Lacoste, Timeless commercial so special and how we can pick up some tips to use on our own grades.
In an earlier Insight, you learned how to Stress Test your Look Up Tables (LUTs) to discover if they are introducing artifacts in your images. In this Insight, learn how easy (or hard) it is to generate 'broken LUTs' in DaVinci Resolve.
Look-Up Tables (LUTs) are black boxes that make it difficult to know what precisely they're doing to your image. Colorist Jason Bowdach shows you how to stress test and evaluate your LUTs.
Sometimes even offering the smallest level of beauty work for a client can go a long way. Learn quick skin-smoothing / eyebag-reducing tips .
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.
Dan Moran shares his thoughts on the best commercial color grade nominations 2018. Top work from excellent colorists are great sources of ideas.
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.
Can you prebuild a perfect node structure and use it to speed up your grading? Dan is taking a deep dive to find out how well it works, and if it's a genius idea or a total waste of time.
In the last couple of years there has been a shift away from teal and orange to teal and yellow. Dan investigates that transition and looks at his own grades. He also asks do you miss teal and orange?
In this insight, we take a look at the final pass on the bread short film. Dan looks at his matching with fresh eyes, checks his black and white levels and decides on the sharpening and grain levels of the film.
In part two of grading the bread short film, Dan dives into the matching side of things. Although it's the least glamorous part of grading it's also the most important.
In this new series, Dan is showing a real-time grade of the bread short film he graded recently. Shot in less than ideal conditions with natural light on a compressed camera, it's a great chance to see the good the bad and the ugly from the grading suite.
In this Insight, Dan covers another of his behind the curtain commercials. This time we look at a bright morning kitchen scene. In this real-world assessment and grade, Dan focuses on getting a bright airy feel without losing on the filmic sense.
Dan returns to his Behind The Curtain series with a real-time insight that shows his approaches to this commercial grade. He covers primaries, look theory, shot matching and Look refinement.
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.
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.
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.
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.
Colorist Dan Moran spends the first day of January 2018 looking back on his best work from 2017. Picking his favourite commercials, music videos and long form narrative projects and also sharing the stories behind when he enjoyed them so much.
VFX colorspace issues are the last thing you need when you are on a tight deadline. Dan shares his experience solving issues like these.
Dan filmed some bad footage on his 7D with the wrong color temperature, harsh lighting & heavy compression. He offers up his best effort on a grade rescue.
Download and color correct a challenging video clip - following the instructions of a supervising colorist. And learn about Resolve's noise reduction.
Dan critiques your beauty grading entries and shares his attempt. The challenge was quite advanced and the results are great. Dan's DRX is also downloadable
Beauty grading is a discipline all on its own. Dan shares a typical client brief and will offer stages of feedback like a real world client
In this insight Dan is reviewing your efforts on his car brief and also sharing his attempt at the shot to show his approach to the grade.
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
Following a brief for unattended grades can be incredibly difficult. Dan sets up a virtual client grade and will give feedback on your grade in the comments
Dan is turning 30 and shares his work from across the years to show how his grading has evolved and improved year after year
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?
Some jobs just call for the grade to be turned up to 11. A fun way to do this is by blending multiple LUTs together and enjoying the happy accidents!
Dust Busting in one of those tools you don't know exists in Resolve. Dan shares his tips on how and when to use it in the grade
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
Sometimes we need to go outside our role as traditional colorist. Dan shares his story form his work paying tribute to an icon
Sometimes you have to go full cheese and pay homage to looks and films from the 70s and 80s. In this insight we create a retro Sci-Fi look
Now that most people have a basic knowledge of color correction thanks to Instagram what does that mean for us colorists?
Dan shares his inspiration for this month including BTS on Moonlight, Peter Doyle, A$AP Rocky and a Lorde video shot on 16mm
We should be spending more time looking at the timeline as a whole than focusing on shots. Nobody ever watches a single shot!
Have you ever considered hands or legs when doing a beauty grade? We spend hours on faces but the skin should match all over the body.
Sometimes when grading you end up going in totally the wrong direction have to just stop what your doing and start from scratch.
Is lens profiling something we should be looking at as colorists or is it a lot of extra effort to save a small amount of time in the grade?
Getting started on a feature film can be a daunting process. Dan shares his experience on getting the ball rolling slowly and carefully
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.
Inspired by the Blade Runner 2049 trailer Dan shares his attempt at recreateing the intense warm washed look.
Dan jumps from commercials to features in this series and shares his guide to getting organized and plan for efficient feature grading
In How I Grade Part Two Dan shares more steps in his grading process. We look at auditioning looks and checking the correct exposure
Dan attempts to walk through his thoughts when grading step by step from quality control to setting the first primary correction
Day 11: 25 Insights in 25 Days New Year Marathon Enhanced Or Natural In this Insight I’m asking the questions behind Sky Replacement and if it belongs in the…
Most of us love to use LUTs behind closed doors. Dan shares his thoughts on why and how to break out of needing LUTs
Using Haze as a grading tool is an alternative method to using Vignettes. Making things lower contrast helps them sit back in the image.
Reframing in Resolve as become common practice. Dan shares his approach to finishing in the box and shares his tips and tricks
Dan shares the skills he learned in the darkroom and how he applies them to grading black and white in DaVinci Resolve
Download the footage and follow along as professional Colorist Dan Moran, CSI color corrects a classic shot in the style of a Hollywood Western Look.
Colorist Dan Moran shares a color correction breakdown on how he approaches a new shot, sight unseen. How to make it an alien planet or a shed in a garden?
Matching Pantone references to video can be tricky at the best of the times. Get advice on getting that exact match - even if it's not precisely correct.
Warm looks don't always have to be rosy red and cozy looking. Take a look at a non-traditional warm color and learn how to add it to your color toolkit.
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.
First, explore the list of the UK's 2016 Best Nominated Commerials - then ask a professional colorist to breakdown how they achieved their Looks.
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.
Considering Final Contrast before you make your first primary correction is a huge advantage creatively to help you get the best results
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.
ACES (Academy Color Encoding Specification) is a professional color management system used by productions of all types. In Part 1, you learn about the problem it solves and basic terminology.
Dan shares his experimentation with the idea of grading using lens flares for subtle lighting effects to help match and lift scenes.
The summer vacations are winding to a close, the kids are returning back to school and the post industry is winding up for that crazy blur that is the September…
Dan shares his story from the grading room on grading a short promo project for radiohead
Sometimes going for the film look is not the right decision. Dan shares his tips on going digital to give us great punchy sharp images.
When working with heavy looks we sometimes forget about protecting skin tone and making our artist/actor look as good as possible
If you're color correcting digital video for professional distribution, nothing is worse than having it rejected for RGB Gamut excursions!
Sometimes we get lost in the heat of the moment and over complicate our grades. Dan shares his tips for responsible grading when time is short
Conforming timelines can be time-consuming before you even start color correcting. Learn the common issues (and how to fix them).
Dan shares his top grades from July as a source of great colorist inspiration
Dan shares his techniques for taking your image to the brightness, saturation, and sharpness limits while maintaining legal levels.
Dan shares some looks from his past focusing on two Early '00s looks in particular. One home digital camera one heavy 35mm music video
Early film looks are a very popular request from clients.They can be tricky to build quickly so Dan shares his DRX files that you can download
At some point in every colorists career you will be asked to make some looks throughout the ages like 60s, 70s, 80s, 90s. Dan shares how.
Summer has arrived and the annual down turn in business begins. My clients first head off to the cannes lions festival and then off on their summer holidays. It’s the…
Adding grain can help add a wonderful cinematic feel to a project but in the world of heavy compression is it a smart decision?
Dan shares parts of his conversation about the grade on recent wonderful life commercial grade.
Some projects call out for extreme warmth to help back up the story. Learn methods to get an extremely warm feel that looks real.
Get an inside look on methods and techniques a professional digital video colorist uses on a short-form fashion commercial.
'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.
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…
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…
Grading underwater footage is like grading footage from an alien planet. Dan shares his approach and technique for working in that world
In this insight dan shares his approach and methods to matching black levels. Matching is hard but with practice you can become much faster!
Using Luts in a color correction workflow is common, but everything doesn't always worked as planned. Learn 4 ways to work around look up table limitations
Dan shares a job as a commercial case study in shot matching - from pristine stock footage to constantly changing clouds.
It's time to cut your reel and Dan shares his advice on his Showreel 2016
Learn how to color correct with LUTs in Premiere Pro and the Lumetri Panel. Especially if your color correcting with RAW-, Log- or flat- recorded images.
Shot Matching is one of the hardest areas of being a colorist. Dan shares his approach to going head to head with mismatched shots.
Dan rounds up the best colorist inspiration from February 2016 with some of the best grades from the new year so far.
DaVinci Resolve allows you to choose between 'video levels' and 'data levels'. Learn how to choose wisely and if you should be making a choice at all?
Sometimes inspiration can strike in the strangest of places. In this insight Dan shares how he finds inspiration from unlikely sources.
Dan shares his attempt and look inspiration in DaVinci of a fabulous Bond movie inspired 35mm film look from the music video Genghis Khan by Miike Snow.
Sometimes we need to add more to our image to sell a flashback. Dan shares his tips for a firey look and adding diffusion and motion blur.
Day 16: 25 Insights in 25 Days Holiday Marathon Colorist Inspiration – Dan’s Best Of 2015 As the year comes to an end I thought it would be the perfect…
Dan shares his ENR processed look with his nodes and footage to grade along with at home.
In this Insight Dan explores some things to think about when it comes to doing a refresh of your system.
In this Insight, Dan guides you through key aspects of getting proper skin tone in your grade.
Adding Sunshine In post can be tricky but Dan shares his techniques in DaVinci resolve to turn dull and grey images into warm and sunny!
Dan shares his attempt at matching the shot on 35mm film warm commercial look of one of his favorite commercials this year.
Its time for the big christmas ads to roll out and more colorist inspiration. Dan share's some of the top work and one of his own.
How do you stay creative when you're not feeling creative? Learn how one professional is always finding opportunities when color correcting.
When jobs look good you wonder why your own work might not look as good. In this insight Dan shares his thoughts on Lighting The Looks.
Have you ever wondered what it's like to speak to a DP before a job is shot? Dan shares a real world discussion on a tricky job.
Septembers most memorable grades roll in and dan shares the best work he has seen from young colorists including one of his own!
Colorist Inspiration – August 2015 The Best Grades From Around The World The world of color grading is mostly a thankless craft. Regular viewers don’t even know we exist and most…
DaVinci Resolve provides RAW controls for color correcting raw footage. Here are three rules if you want to use those controls.
Rebooting Your eyes can be tricky after spending hours, days or even weeks on a project. Dan shares how to refresh your eyes for a grade.
The question of how to commercials look so good crops up constantly. Dan shares the in and outs of a grading session to show you how
When working with RAW-recorded video in post-production is changing ISO in software the same as doing it in-camera? Click and find out.
Does the Exposure control for a RAW-recorded video file work the same as changing the iris on your camera? This video explores this concept.
In this insight Dan shares a Grade Breakdown on a recent commercial to challenge you to use your eyes to notice all his grades
Video games are just as visually stunning as films these days but how to you approach color grading CG footage from one?
What do you do when a client says keep it natural? Dan shares tips for getting the most out of your image by building an invisible look
In this Insight, learn what RGB Gamut errors are and how to identify them before a broadcaster catches them for you!
In this insight I borrow my Stills Techniques and try and apply them to my video work. The standard is very high and the results are amazing
The world of stills retouching has such an amazing standard. Dan looks at those techniques and will borrow them for the video world
How much time have you spent thinking about your eyes? Dan starts a new series about health issues including eye awareness.
Defining Texture is a great decision to make early on when grading. Do you want it to look glossy and commercial or textured and filmic?
With LUTs so common place in modern color grading sometimes you need to visualize and convert them - Lattice can help!
When working with people we always need to smooth skin tones. In this video I explore my three favorite skin smoothing tools.
DSLR Music Video are pretty common and can be incredibly tricky. Dan shares one of his favorite music videos shot on DSLR
Grading high quality is fun but what happens when you have difficult footage to begin with? Dan takes a look at Damage control when grading
Food commercials can be the trickiest of grades as they push your skillset and leave little room for error. Here are some techiniques
How do they make car commercials look so polished and refined? Dan shows you some common techniques used on a car commercial.
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.
Color temperature allows us to control many factors from time of day to adding to the mood of your image by warming or cooling.
Its tempting to dive in with many nodes & advanced techniques but spend more time getting your contrast right & you'll love the results
In a world where you can apply 20 nodes to build a look Dan challenges you to rediscover basic grading concepts starting with Saturation
DaVinci Resolve's 'Color Match' feature can be tricky. But if you follow the 'Brightness First' Rule, you'll probably get better results.
If you've tried to match multiple cameras together using color charts, you've likely found it difficult. What's the problem you're having?
We take a look at the Best UK Commercials of 2014 in the world of uk color grading.
How do you know if your images are colorful enough? When's the best time to set your saturation in Final Cut Pro X? Find your answer here!
Time to take the image into the next level with a fashion look in part two of the series on advanced beauty grading.
Understanding the Final Cut Pro X Exposure Slider is critical to knowing how to color correct in Final Cut Pro X. Click and discover: Why?
Advanced Beauty Grading is quite a dark art in the world of color grading. Dan shows you his approach to beauty grading on a commercial.
In Part 5 of our LAB in DaVinci Resolve series, we answer members questions about dealing with saturation in LAB colorspace.
In part two of this series Dan dives into Resolve and tries out the methods first hand. Enjoying the restrictions and relief of grading.
Explore the different types of DaVinci Resolve node trees for LAB colorspace. Should we do all our work in one node? Or multiple nodes?
Have you ever wondered why Christopher Nolan uses color timing instead of a DI for his grades? We take a look at the color timing world
Creating a feature film neo noir look can be tough. Dan shares his look using hardlight blending modes instead of his beloved curves.
Explore several types of source footage to determine which one are best suited for working with LAB color in DaVinci Resolve.
Building an Infrared Look can give you some beautiful results if you have the right projects and feel adventurous!
In this video, transfer those Photoshop skills color correcting LAB color in DaVinci Resolve - plus how the tools don't translate directly.
Learning how to color correct in LAB color space with DaVinci Resolve is easier if we start with how the Photoshop experts are doing it.
Photoshop pros are learning the power of LAB Colorspace. This is the first of several videos on applying those Insights to moving images.
Footage Quality Control in a modern file based world can be tricky. Dan shares his advice on how and when to reject source material.
Dan shows you how he built a Halloween Slasher Look inspired by classic 80s movies for a recent teaser commercial for Halloween.
We take a look at difficult shape masking and combining multiple windows in DaVinci Resolve to give you total control over difficult images.
Using multiple windows and tracking them into your scene gives you total control of your image and allows you to build powerful looks.
We visit the colour grading work of Company 3 master colorist Dave Hussey – rock star colourist and all round awesome guy
Making people look as good is part of the dayjob for colorists. Working with skin tone can be tricky but Dan shares his tips and approach.
Look Up Tables can be complex subject. In this Insight get a colorists perspective on the difference between 1D and 3D LUTs.
Essential Skills For Assistant Colorists to help you get the job in a big facility. Being an assistant is hard work but you'll learn so much
Dan breaks down a shot from camera rushes to final look. He shares the good the bad and the ugly grades from starting point to final grade.
Shot Matching - Matching Skies. In this Insight, Dan shows you his techniques for color matching skies between multiple set ups and scenes
New Tools For Resolve 11 Are The Highlights And Shadows Controls. They offer up new creative options for setting the contrast in your scene.
Have you had a client reject a grade after they left the color correction suite? Learn how handle this problem without losing your client.
Attended Grading - Starting A Session is the hardest part of the grade. You need to understand what your new clients want from the grade
Resolve 11 - New Matte Finesse Controls brings some great refinements to the qualifier controls. Clipping and noise reduction make pulling keys easier than ever!
Stop using the full video contrast range on every shot in every scene. Learn to start managing contrast between scenes for visual interest.
How do the pros compress video for YouTube at the highest quality? Listen to this interview with specialist Jeff Greenberg.
Grading isn't always about adding to your image. Taking away and controlling colors is just as important when building strong images.
In this installment of From The Mailbag we discuss two questions about video legalization & using R3D trimming in Resolve with Remote Grades
Using a sky replacement we change a simple beach scene into a moody tropical sci fi establishing shot
In this insight dan takes you through a journey of setting the time of day in a scene. The flow of the story is key when setting a time.
In this episode of From The Mailbag, we discuss using the Tangent Element In Adobe SpeedGrade & what goes into getting good skin tone.
The Offset Control in video color correction looks quite rudimentary. Learn how to use it powerfully and to great effect.
Working With raw files allows you to to get the best possible results with your footage. Lets start with getting the best exposure
Have you ever had to build a look that helps put a shot into a certain era? Learn how to approach this challenge - and download a 6K RED Dragon shot to give it a shot and share with us.
Learn how to quickly create an S-Curve using the Contrast and Pivot controls in Resolve to add more filmic contrast to shots
When you need precise separation using External Mattes from a Rotoscope artist makes precise grading in DaVinci Resolve a breeze
How do you build a colorist showreel / demo reel that condenses your whole career into 3mins? Dan shares with you his approach.
Are you having trouble getting bright, happy images that aren't also feeling flat? Learn how I get around this by dropping the midtones.
What is photochemical color timing? What is the role of the cinematographer while color correcting? Learn what three colorists think.
Grading a music video can be challenging from a time perspective. In this Insight learn about Managing A Grade for when time is tight.
Dan takes a look at the offset controls. The oldest and most overlooked primary controls in Resolve. Great for shot balancing.
In this video we try matching shots with LUTs applied - and leanr how using the RGB parade scope helps us get the job done.
Reference Images - Matching To A Reference. Have you ever had to match your footage to a famous movie or photo? Dan will show you how.
Jean-Clément has been the most influential post production professional in London and for many years. Here is a look at his work.
In Part 3 of our series on the workflow for Commercial color correction projects, we discuss how we handle archiving and restoring jobs.
In Colorist Circuit Training Part 2 we take a look at a sample exercise where Dan assesses his grades to find the best version.
In Colorist Circuit Training Part 1 we take a look at some exercises to help strengthen your style and color grading skills.
If you're wondering how to legalize video in Speedgrade CC, this video will show you.
Learn an innovative approach to framing filmed images for multiple aspect ratios. Also - how to view these framings inside DaVinci Resolve.
The first step in color correction is to do your 'primary correction'. What controls should you touch first? This video explores 6 options.
Have you ever wondered how other colorists organise and run their jobs? Now is your chance to see a real commercial workflow in action.
Monitor Calibration is essential to have success color correcting and grading projects. Check out this Insight to learn the essentials.
Sometimes clients can have a very different vision of the project than you had.I offer some tips on grading in this situation
Get the most out of your 'Pieces To Camera' (on-camera Stand-Ups) using power windows and curves on footage that needs to look normal.
Learn how a professional colorist analyses an image. Learn what they focus on and how they grade using contrast, color and secondaries.
Learn how to create LUTs for the Alexa using the official Arri LUT Generator. Develop your own set of best practices when working with this tool.
Are you confused about how to use Arri Alexa LUTs on your projects? Learn one approach to using them creatively, based on Arri's own LUT Generator.
In this color correction tutorial, we explore color correcting FS700 footage in our Fake Film Trailer. We'll also use Sapphire plug-ins for DaVinci Resolve.
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!
Learn how a professional colorist evaluates a project (film trailer) before a single shot is color corrected - a critical step for smooth sessions.
If you're confused on how to color correct using LUTs, this video (one in a series) shows several different approaches for you to try.
Learn how to deconstruct a LUT (Look Up Table) to understand its impact on your image. This will improve your color correction using LUTs.
Learn how to split color channels into RGB, YUV or LAB with the Splitter Combiner nodes in DaVinci Resolve. Watch me put them to work.
You can use the Overlay blending mode to add grain and get great colour and contrast pop, with the click of a button. Watch me put it to use.
I like to work with background plates in Resolve. This allows me to color correct my product or actor in place, allowing creative choices. Watch me work.
Creating a Black and White Look seems like an easy prospect, initially. But they can be some of the most difficult jobs. Learn how to execute this Look.
The Low Contrast Look is a flat style of color correcting. In this video, learn how we execute it without making our images look lifeless.
Has a client ever asked you to create a 'Film Look'? Yes, us too. In this video, learn how we get to this Look using some new features in DaVinci Resolve.
Sometimes when you're color correcting you need to give the job an extra wow factor. My favorite technique at the moment is tinting the shadows. Learn how.
'Secondary corrections' are isolations to areas of an image to make specific color corrections. Here are tips on getting quick results.
How does a professional colorist color correct food? Our guest colorist Rob Bessette shares his secrets and the keys for a successful session.
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!
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.
Are you looking for ideas on how to color correct the Blackmagic Pocket Camera? I share how I work with it in DaVinci Resolve.
After color correcting the music video 'Birthmark' by Cass Lowe, here's your chance to 'ask us anything' of the Colorist and Cinematographer.
Have you ever been asked to color match a shot to a reference image for their video? Here are a few ideas on how to do that in DaVinci Resolve.
You will learn two ways to use the Key Mixer Node: How to set it up as a master control for multiple masks; and how to build garbage masks for cleaner keys.
If you're looking to create a Look and want something a bit different (and even noisy)... here's how you can create the 'Korean Horror' Look.
Have you wondered how to use the Log Controls in DaVinci Resolve? This video is an overview of all the controls and some basic theory of how they work.
DaVinci Resolve's node tree makes it tough dissolving between two completely different Looks. Learn how to do it easily, without getting lost in keyframes.
What does it mean to shoot film or video as 'Day for Night'? Learn the terminology and how to do it in this video tutorial.
Do you have burning questions about color correcting music videos? Professional colorist Dan Moran, CSI is here to give you his answers.
You shouldn't be a slave to LUTs... learn how to quickly decide if they're working. And if not, learn to throw away those LUTs and just 'Do It Yourself'.
Learn why you need to save your color corrections to build your personal 'Look Library' of skin tones, skies/grass/water and for general looks and feelings.
When using Look-Up Tables you've got be careful with LUTs and 32-bit Float... otherwise you may end up clipping out valuable image detail. Learn why.
When a client asks for a specific pixel dimension or Aspect Ratio learn how you can precisely set it up in DaVinci Resolve, even if no preset exists.
As part of our series on adding Depth-Of-Field while color correcting, learn my final step when executing this technique, making the image look sharp.
I spoke about the theory of adding depth earlier in this series but lets take a practical look at executing the theory so you can do this on your footage.
Avid's Y Waveform sets black above the bottom of the scale whereas Resolve's Waveform sets its blacks at the bottom of its scale. Which is correct?
After my 3-part series on the theory of Depth-of-Field and techniques simulating it, the theory is put to action—learn how you can use these techniques.
Are you struggling with getting good results from the FCP X Color Board? Learn how to analyze its image processing and build a custom workflow.
When color correcting, learn how to split your image into separate brightness and color channels for creative reasons (and additional technical benefits).
Are you looking to control depth-of-field in your video images during color correction? This video shows you how to use selective sharpening and blurring.
Have you ever needed to improve how an actor 'looks' in a video? Learn the basics of how the pros do it in this Beauty Grading 101 video.
Learn how to simulate depth of field in your video using the concept of localized contrast. Part of a 'Simulate Depth' series.
How do you simulate depth of field in video? This is the first in a series of tutorials on helping your images feel more 'filmic'.
Learn a node structure for using LUTs in DaVinci Resolve (and the reasoning behind it). Segmenting your workflow into clear distinct actions speeds you up.
Look-up Tables are mathematically precise. Understanding LUTs requires you to accept that a single LUT can NEVER be used for all your shots.