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.
Learn how a pro colorist is integrating the Resolve 'color space transform' plugin into his fixed node tree to get better results, faster.
When you open DaVinci Resolve 16 for the first time, you land on its Cut Page. How is it laid out? How does it differ from the Edit Page?
DaVinci Resolve's Quick Export is often overlooked because it looks simplistic. Learn how to power up Quick Exports and save yourself time.
Take a fresh look at Resolve Studio's native noise reduction tools. Learn the process for working through the Temporal and Spacial toolsets.
Do you want to remove artifacts from dirty lenses or remove objects that are distracting. These ResolveFX can help you, in Resolve Studio.
Dan kicks off January 2020 by looking back on 2019 and speaks about his personal favourite grades & experiences of the past year.
Do you struggle getting a good starting point while using Look-Up Tables (LUTs)? This idea may make things easier (in Davinci Resolve).
Learn how to use Keyboard Maestro and Stream Deck to supercharge your workflow in DaVinci Resolve on Mac with powerful macros.
Working with new cameras is always a challenge. Get an inside look at what Dan does when working with the Fuji XT-3 camera
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.
What is an IMF package? How doyou use DaVinci Resolve to create supplemental IMFs for delivering fixes and alternate versions?
Learn how to use DaVinci Resolve to finish and output coutless versions of broadcast promos, easy fast and without any mistakes.
Dan answers some comments from members about why he adds his grain to the image at the very beginning of his node graph
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?
Learn how various Saturation controls in DaVinci Resolve are identical to each other. Plus, understanding saturation-related hue shifts.
DaVinci Resolve 16 is very exciting. But it's currently in 'Public Beta'. What does that mean? Can you update to it safely?
We continue deconstructing Resolve's Color Boost controls, offer an alternative definition, and demonstrate how it differs from Saturation.
Dan shares his thoughts on recreating tape based artifacts using the brand new Resolve 16 Analog Damage tool.
Video scopes are an essential tool to all colorists. Learn all the exciting new scope features in Resolve 16 to speed up your grading.
A video review of how PixelTools uses the native tools in Davici Resolve to construct custom looks and utilities with PowerGrades.
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.
It's not always clear how Resolve's 'Color Boost' tool works differently than its 'Saturation' tool. This video breaks down the differences.
Dan shares his breakdown of cleaning up a bike frame using the color compressor and node resizing in Resolve
Dan shares his thoughts behind his solution to removing a reflection using Resolve's Color Page - on a 16mm shot with moving grain structure.
Learn how to create, export, and import ASC-CDL compliant color grades using DaVinci Resolve. Plus tips and tricks with CDL data.
Troubleshoot an interesting problem for a more in-depth understanding how Resolve Color Management (RCM) works.
Learn the workflow of the 3D toolset in DaVinci Resolve Fusion. Discover how to change materials, add reflections, color grade 3D objects.
What's harder than faking a VHS-look from a high-end camera? Intercutting that look with actual crummy VHS. Learn one way to do it.
Do you perform repetitive tasks on a regular basis when color correcting or finishing? Then learn how to use DCTLs to automate those tasks!
Dan wraps up his behind the curtain series with a watch through and matching pass on the whole video to make sure it flows as a whole film
Take an introductory look at the Color Decision List (CDL) and learn about the strengths and weaknesses of an ASC-CDL based workflow.
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.
Dan shares his story from a recent "not so near-set grade" for an upcoming collaboration with friends on a short film.
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.
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
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.
DaVinci Resolve's Fusion page is intimidating. In this video, learn an easy way of getting into Fusion, with a simple Text animation.
Drone footage adds tons of production value to projects. But the cameras often suffer from over-sharpening. Get tips for fixing this problem.
Mixing the R, G, and B colour channels is a versatile color grading technique. Using Resolve's RGB Mixer, learn its simplicity - and power.
Do all saturation controls behave similarly? Or are there subtle differences that add new arrows in your quiver of saturation controls?
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.
In this Insight, Dan shares his approach to creating a classic 16mm Film Emulation that he used on a recent music video.
Resolve's new scripting APIs open up exciting new possibilities. Learn how to get started by using Python to import comments from Frame.io.
Dan shares his technique of using the multiply blending mode to recover highlights easily and naturally via a layer node.
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.
Dan shares his 90s video review and his attempt at going bold, bright soft and crushed in this grading challenge.
Are you trying to do Photoshop's Channel or Luminosity Mask techniques in DaVinci Resolve? Learn how, by simplifying the workflow.
Drone footage is a very common occurance on timelines these days. Dan shares his techniques for adding depth to the footage.
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.
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.
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.
The Sound Library feature released with DaVinci Resolve 15 Public Beta feels very incomplete, and how I think it needs to improve.
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.
In this 'Resolve Mini' control surface Video Review, see several exciting features in action - plus a bug that confuses things.
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.
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?
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 .
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.
Dan Moran shares his thoughts on the best commercial color grade nominations 2018. Top work from excellent colorists are great sources of ideas.
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).
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.
Understanding DaVinci Resolve's Parallel Mixer node is essential to eventual mastery of the software. In this Insight, learn how the Parallel node works and the difference between it and the Layer node.
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?
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.
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.
Editing Multicam clips can be a great workflow... unless you can't get real-time playback and your system keeps dropping frames. Learn how Resolve's optimized workflow can help you get back to real-time.
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.
In part two of grading the bread short film, Dan dives into the matching side of things. Although it's the least glamorous part of grading it's also the most important.
Team Mixing Light discusses strategies for moving Resolve PowerGrades, PowerBins & project configurations between databases.
In this new series, Dan is showing a real-time grade of the bread short film he graded recently. Shot in less than ideal conditions with natural light on a compressed camera, it's a great chance to see the good the bad and the ugly from the grading suite.
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.
Dan returns to his Behind The Curtain series with a real-time insight that shows his approaches to this commercial grade. He covers primaries, look theory, shot matching and Look refinement.
In 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.
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.
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.
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.
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.
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.
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.
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?
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
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.
Begin learning how to calibrate your color correction Reference Display by seeing how to calibrate your colorimeter for highly precise measurements.
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
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?
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.
Magic Bullet Looks is a powerful plug-in for creating looks. Does the newest version play back in real-time? How is its performance in Davinci Resolve?
An old school technique that is still regularly used today in commercials. Having a break between grading the same footage has huge advantages.
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 Davinci Resolve 14 Public Beta 7 the Project, System & User Preferences are revised. Learn what's changed, what needs improvement and what's left to do.
In a new series Dan shares his guide to training your eye for contrast issues. Follow this four step process to learn how to diagnose and fix your images
RED's new IPP2 processing pipeline has a lot to offer, in this Insight, we explore the new pipeline setup in RedCineX & DaVinci Resolve 14
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 DaVinci Resolve 14, the Stabilizer got a new set of controls that seem overly simple. Has this tool been upgraded? Or should you work in Classic mode?
Dan shares his new approach to Assessing Tonal Range and the initial grading moves by asking. Are you trying to make it look better or different?
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
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 Part 2 of this series on working with alpha channels in DaVinci Resolve, learn how to use the Key Mixer to solve tricky a tricky problem on a commercial.
Sometimes we need to go outside our role as traditional colorist. Dan shares his story form his work paying tribute to an icon
In this Insight, we put Part 1 into action and explore the powerful workflows possible with Resolve 14 collaborative workflows.
Dan spent a month in ACES getting to know the new way of grading. In this insight he shares his thoughts on the good the bad and the ugly of ACES.
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.
Sometimes you have to go full cheese and pay homage to looks and films from the 70s and 80s. In this insight we create a retro Sci-Fi look
Among Resolve 14's great new features, the redesigned collaborative workflow stands out. In this Insight, learn the essentials of Resolve collaboration.
Working with key signals in DaVinci Resolve isn't hard - but it's not intuitive either. Once you figure it out, it's also a power feature. Learn more.
Using Scroll Mode in DaVinci Resolve is a quick and effortless way to audition grades for your current shot by loading grades
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.
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.
Now that most people have a basic knowledge of color correction thanks to Instagram what does that mean for us colorists?
Rich Roddman C.S.I. shows how he sets up his Cart for on-set color correction... and the thinking behind his choices.Part 4 of a DIT series.
In this special edition of the Color Correction Gear Head series, we welcome Joey D'Anna & his review of the Resolve Mini Panel.
In this Insight, learn about pulling a green screen key in DaVinci Resolve and how to manage transparencies and rendering alpha channels.
We should be spending more time looking at the timeline as a whole than focusing on shots. Nobody ever watches a single shot!
Have you ever considered hands or legs when doing a beauty grade? We spend hours on faces but the skin should match all over the body.
Sometimes when grading you end up going in totally the wrong direction have to just stop what your doing and start from scratch.
Are you a Mac-based Post-Production professional moving to the PC platform? Eric Bowden, custom PC builder, talks about the differences.
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
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.
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
If you're having trouble with you sizing in Premiere Pro not being replicated in DaVinci Resolve, the Input Sizing control may be your hero.
Learn what settings to use in Premiere Pro CC when Scaling in XML workflows. And the settings to use for importing into DaVinci Resolve.
In How I Grade Part Two Dan shares more steps in his grading process. We look at auditioning looks and checking the correct exposure
If you have problems exporting XMLs with image sizing from Premiere to DaVinci Resolve, this video explores the settings you need to know.
Dan attempts to walk through his thoughts when grading step by step from quality control to setting the first primary correction
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.
Get an overview of how the Logitech G13 Gaming keypad works - with ideas on how it can speed up your video post-production workflow.
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
Learn how to use the 'Offline Reference Clip' to see what the final approved timeline looked like - while color correcting in DaVinci Resolve.
Using Haze as a grading tool is an alternative method to using Vignettes. Making things lower contrast helps them sit back in the image.
Are you having problems deciding how to attack color correcting your images? Learn how to quickly generate ideas in this video.
Reframing in Resolve as become common practice. Dan shares his approach to finishing in the box and shares his tips and tricks
If you're having trouble with DaVinci Resolve's built-in Media Manager then check out this video featuring 'Resolve Collect'.
Dan shares the skills he learned in the darkroom and how he applies them to grading black and white in DaVinci Resolve
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.
When importing a timeline & conforming in DaVinci Resolve, problems occur. See how we methodically solve frame rate & sync problems.
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.
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).
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.
Learn how to prepare to Media Manage an XML, and get footage off your client's hard drives and onto your high-performance RAID.
Warm looks don't always have to be rosy red and cozy looking. Take a look at a non-traditional warm color and learn how to add it to your color toolkit.
Continuing our introductory series on ACES, you learn about the latest updates to ACES, including a working color space added to the ACES 1.03 specficiation: ACEScct. Plus, how it effects DaVinci Resolve colorists.
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?
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.
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…
Considering Final Contrast before you make your first primary correction is a huge advantage creatively to help you get the best results
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.
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.
Dan shares his experimentation with the idea of grading using lens flares for subtle lighting effects to help match and lift scenes.
Does the color correction math in DaVinci Resolve change depending if you're using a mouse versus using a colorist control surface?
A hands-on overview of the most affordable color correction control surface on the market today—the Tangent Ripple.
DaVinci Resolve 12.5 has introduced some new Stereo features... to support HDR workflows for High Dynamic Range color grading. Learn more...
Dan shares his story from the grading room on grading a short promo project for radiohead
What's new in the DaVinci Resolve 12.5.1 Update? Learn about new features, new behaviors and general observations about this latest update.
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!
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
Conforming timelines can be time-consuming before you even start color correcting. Learn the common issues (and how to fix them).
Working on a PC but need to render ProRes? In this Insight, learn how to setup Resolve remote rendering & use a spare Mac for ProRes renders
Dan shares his techniques for taking your image to the brightness, saturation, and sharpness limits while maintaining legal levels.
Every once and a while you'll need to create a stylized bad TV or surveillance camera look. In this Insight learn how.
Dan shares some looks from his past focusing on two Early '00s looks in particular. One home digital camera one heavy 35mm music video
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.
If you do video color correction, watch 'Getting Started with CalMAN ColorMatch' to learn how to test if your reference display is accurate.
Some projects call out for extreme warmth to help back up the story. Learn methods to get an extremely warm feel that looks real.
Learn how to read the graphs in Lightspace DPS, to evaluate if your display requires calibration for color correction.
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.
Learn how Dan uses reference images to create his Looks - and download the sampe footage to try your hand and practice your skills.
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.
Learn how Resolve Studio 12.5, the paid version of Resolve, is starting to get siginificant features that free users will want.
If you're looking to improve your color correction ergonomics for your editing or color correction suite - this post has some ideas for you.
Resolve 12.5 is here and Dan shares his thoughts on the exciting brand new features and how they can be used to help you colour correct better.
This DaVinci Resolve 12.5 First Look shares a working colorist's initial thoughts about the big new update to this color correction software.
Another April, another version of DaVinci Resolve! In this Insight, Robbie shares his top new features of this exciting release.
Dan shares his node breakdown from his match my shot challenge including a downloadable Resolve project
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…
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.
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!
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
Learn how the 'data levels' and 'video levels' Project Setting effects your external scopes when color correcting in DaVinci Resolve.
Dan shares a job as a commercial case study in shot matching - from pristine stock footage to constantly changing clouds.
Are you trying to work with non-HD Frame Sizes in DaVinci Resolve? It's very common for display advertising and this video will show you how to handle it.
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.
Shot Matching is one of the hardest areas of being a colorist. Dan shares his approach to going head to head with mismatched shots.
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.
There is a time in every colorist’s life when we need to add some retro 70s TV vibes to footage! This insight is based on both creating a parody of…
Is DaVinci Resolve Studio on the Mac App Store worth the $500 upgrade over the free version? Or should you buy the more expensive 'dongled' version?
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.
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
Dan shares his ENR processed look with his nodes and footage to grade along with at home.
Diving into HDR (high dynamic range) video? Check out this Insight to learn the essentials of getting setup for HDR in DaVInci Resolve
Watch an overview of how a professional colorist uses Magic Bullet Looks 3 to jump-start the 'look creation' process.
A cold commercial look can help bring bright natural commercial into a moody and grungy world
HDR is the 'next big thing' for color grading.In this Insight, get up to speed with two discussions about HDR with industry experts Bram Desmet & Juan Salvo
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.
Adding Sunshine In post can be tricky but Dan shares his techniques in DaVinci resolve to turn dull and grey images into warm and sunny!
Dan shares his thoughts on how to emulate shooting black and white with a red filter on front of the lens to give an interesting look.
Dan shares his attempt at matching the shot on 35mm film warm commercial look of one of his favorite commercials this year.
The main pain when working with LUTs is not knowing exactly what they are doing. Dan shares his technique of LUT Limitation.
How do you stay creative when you're not feeling creative? Learn how one professional is always finding opportunities when color correcting.
We all strive to create the most cinematic looking images possible but sometimes its fun to go for a harsh hyperreal sharp bright look.
In color correction we're solving problems. Sometimes they're handed to us, sometimes they're problems we created. See examples of both.
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.
How DaVinci Resolve 12 changes the way we write contrast curves in the LAB Colorspace. See the difference between Resolve 11 & 12 curves.
Breaking down the color correction for a 'webisode' and creating a 'Film Look'. Plus, ideas for managing film grain.
Dan shares recent issues from his grading suite and focuses on noise and keying issues when working with a lut on recent jobs
If you need to switch between different Looks in a single shot, learn how to use DaVinci Resolve's 'Layer Mixer' node for fine-tuned control.
Learn advanced key-framing techniques as we break down a color correction of a short film for a real-life haunted house.
Sometimes you need to go hard and contrasty with black and white and Dan shares his experience when building a metallic monochrome look
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
Rotoscoping in Resolve is becoming more and more necessary. Dan shares some hints and tips on how he approaches the task.
Remote grading in DaVinci Resolve is a unique way to color grade. It allows clients to view real time grading anywhere in the world.
In this Insight, learn how to leverage DaVinci Resolve's powerful rendering engine to render multiple projects and timelines all at once.
DaVinci Resolve provides RAW controls for color correcting raw footage. Here are three rules if you want to use those controls.
DaVinci Resolve 12 offers several new tools for keeping your Media Pool organizing. Learn how to use them when starting a new project.
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.
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.
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