When it’s time to share your Resolve User Interface with a remote client or classroom, a few simple tips and optimizations can win the day!
If you have many graphics or visual effects shots that might be replaced at the last minute, learn the value of Resolve's 'Take Selector'.
Announcing: 5 new DaVinci Resolve courses, a credit system allowing members to unlock them, and an upcoming 'All-Access' membership level!
Learn to use optical flow for more than speed changes. In this Insight, fix a corrupt frame and repair archival footage pull-down artifacts.
Get started with DaVinci Resolve 18's Cloud-based Collaboration workflow. In Part 1, begin sharing media and projects with a remote team.
In Part 2 of Jason Bowdach's series on glow effects, get a close look at the Sapphire S_UltraGlow and the additional options it offers.
In Part 3 of Cullen Kelly's 'Flexing Fundamentals' series, learn how to think about organizing contrast adjustments to improve your results.
Colorist Joey D'Anna breaks down his color grade of an indie feature - showing how he executed the goals & technical challenges of this film.
Learn 10 essential keyboard shortcuts you can bind on the DaVinci Resolve edit page to speed up your editing workflow.
Glow effects are versatile - but you can waste time fiddling with their controls. Learn how to work with the Glow Resolve FX, intentionally.
Learn why colorist Cullen Kelly loves Contrast-Pivot for his contrast adjustments - and how you can upgrade them for more nuanced control.
In this deep dive into the Filmbox OFX plugin learn its basic operation, features, and how it compares to alternate film print emulators.
Are you pulling a key for color grading and Resolve's HSL keyer isn't doing it? This dive into the 3D Keyer may get better results, faster.
In a new series on Primary color corrections, Cullen Kelly explores the hidden strength of the Offset Wheel - when working color-managed.
Team Mixing Light, and members, discuss Log Gamma curves, revisit Rec-709a, Premiere Pro 2022's color management, and declining job offers.
In Part 7 of Cullen Kelly's 'Visual Math' series, rebuild Resolve’s RGB Mixer with splitter/combiner nodes to control with Custom Curves.
In Part 2, Igor Ridanovic leverages the stabilization work of the new Surface Tracker plugin to execute beauty work on the Fusion page.
Learn an advanced compound timeline use-case for Dolby Vision deliverables - without ever rendering & replacing the original HDR timeline.
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.
Learn how to use Layer Mixer nodes to recreate a LUT's contrast curve for further creative manipulation in Part 6 of the Visual Math series.
Resolve 18's Surface Tracker combines a multiple-point tracker and a warper in one tool. Learn how it works while prepping a retouch job.
Use compound timelines in DaVinci Resolve for speed and efficiency when managing separate versions of timelines and multiple creative teams.
Are you adding RGB artifacts into images when sharpening? How is Midtone Detail different (in DaVinci Resolve)? Plus, sharpening in LAB space.
The team is joined by our newest Contributor, Zeb Chadfield, answering business-related questions on being a colorist and getting paid.
In Part 3, learn how to go beyond LUTs for an artistic approach to emulating film print looks using Paul Dore's DCTL in an ACES workflow.
In the start of a new series, colorist & educator Hector Berrebi defines the terms and tools of the important concept: Texture Management.
Learn how to control a remote DaVinci Resolve workstation using Parsec with VirtualHere to virtualize locally-attached USB devices.
Team Mixing Light helps our members work through confidence problems color grading skin tones, drones, and laptop displays in a live call.
In Part 5 of our 'Visual Math' series, learn how 'vs. Curves' work from within Resolve's node graph by building your own in HSL space.
Learn how to install and configure Postrgres database servers in a Linux virtual machine across an internal network for DaVinci Resolve.
50 years later, the simple EDL is still useful for sharing timelines! Get more tips and tricks on integrating EDLs in colour managed projects.
Continue developing your critical eye for evaluating Film Print Emulations (FPEs) by breaking down Pixel Tools Post's 'Film Lab PowerGrades'.
Learn how to extract the hue and/or saturation shifts of a 3D LUT, without getting stuck with the LUT's accompanying contrast adjustment.
Team Mixing Light, in a live conference call, takes member questions on Resolve's HDR palette and the practice of handing over project files.
Using Resolve's Edit Index and EDL comments, you can prepare a preconformed timeline for color management much easier than you think.
In this new series, build the foundation to evaluate & implement ANY Film Print Emulation (FPE) - with the Kodak 2382 film stock as baseline.
Colorist Jason Bowdach teaches you his approach to developing and evaluating technical PowerGrades (and how it helps your creative grading).
Colorist Joey D’Anna explains why the new Output color space setting in DaVinci YRGB projects is a great tool for node based color management.
Colorist Patrick Inhofer shares how he modified his approach to Resolve's Color Warper - and now rarely uses 'Hue vs' and 'Sat vs' curves.
Learn how to isolate the color impact of a LUT from its luma component to craft the image to your preferences, all within DaVinci Resolve.
In Part 3 of this series, Jason Bowdach demonstrates how to use Colourlab Ai in a color-managed workflow in Resolve and shows new features.
Join colorist Joey D'Anna as he answers node-based color management strategies for ACES and RCM workflows (including groups and shared nodes).
Colorist Joey D’Anna shares with you new custom tools for batch rendering, automatic backups, and a 3D motion control template.
Learn how to build Color Warper 'Pin Patterns' for flexible saturation fixes in DaVinci Resolve and integrating them into fixed node trees.
'Subtractive saturation' is a hot topic with colorists. Learn how to manually build this tool in DaVinci Resolve for more natural results.
This is our first Office Hours Livestream. Four Mixing Light Contributors take and answer questions from members in a livestream.
In Part 4, learn how to QC and deliver your Dolby Vision HDR and SDR masters, including Video- or Data- level settings for ProRes exports.
Learn how to use the original SDR color grade as a reference for a new SDR Dolby Vision trim from an HDR re-master (gulp!)!
Cullen Kelly wraps his 10-part intro series about Coding DCTL. It's a live Q&A session answering questions, while Cullen learns something new!
This series returns with stories on Netflix recommended displays; being a better colorist; color harmonies; and note-taking.
Colorist Cullen Kelly finishes off coding a split-toning Resolve DCTL plugin with a visual overlay showing how the RGB channels are modified.
In part two of his series, Colorist Joey D'Anna shows you how to color manage graphics when trimming a project from SDR up to HDR.
Colorist Cullen Kelly finished defining his Davinci Resolve DCTL plugin. Learn how he tweaks the interface, eliminating 'dead zones.'
DaVinci Resolve 17.4 is a substantial update. Colorist Joey D'Anna explores his favorite features, big and small, on the Color & Edit Pages.
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
In Part 7, Colorist Cullen Kelly shows how to add split-toning into the custom DCTL. Then he debugs and commits it to the main GitHub branch.
Colorist Patrick Inhofer shares a behind-the-scenes look at color grading an animated short film - and how it differs from live action.
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 part 6 of his ongoing series, Cullen Kelly explores how to combine two separate DCTLs for increased user functionality without adding complexity.
Coloring Reality TV can be a huge undertaking. However, if you organize and prepare, you'll deliver a high-quality show on time.
Learn how to tag a single clip with multiple 'input color spaces' in DaVinci Resolve when executing a 'flat file'/preconformed workflow.
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 part 5 of his ongoing series on coding DCTLs, Cullen starts to get into the thick of the tool he's creating - exploring how to define and code contrast.
In part four of his ongoing series on creating DCTLs, Cullen Kelly builds upon work done to create a static DCTL by adding user adjustable controls.
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
Learn how to use Resolve 17's new remote panel capabilities for remote color grading that is secure, interactive, and color accurate.
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.
Dan shares some grading inspiration from the 2020 best colour grading nominees at the UK music video awards
In Part 2 of our series on learning how to use Resolve's Serial Nodes, we look at combining them with Layer and Parallel Mixer nodes.
Expand your colorist toolbox with custom Python scripts and DCTLs for Frame.io workflows, subtractive saturation, and timeline duplication.
Watch over the shoulder of senior colorist Cullen Kelly as he works through his first pass on a feature film and shares his approach.
Learn to measure audio/video sync issues with a smartphone, and compensate in DaVinci Resolve using Fairlight's B-Chain
Get up to speed on Resolve 17's new proxy workflow for lightning fast editing and grading performance when working remotely.
In the finale of the series, colorist Peder Morgenthaler puts what we've learned into action creative 3 looks with the Color Warper.
In the last installment of his series on the essentials of look development, Cullen Kelly guides you through the concept of preferential color mapping.
In part 2 of his series, Peder Morgenthaler dives deeper into the controls in DaVinci Resolve's Color Warper.
How does the DaVinci Resolve Mini control surface manage to control 7+ color wheels in the HDR Palette, with only 3 physical trackballs?
In Part 2 of his series, Cullen Kelly takes a look at dialing in the contrast curve for a look with the new HDR Zone tool in Davinci Resolve 17.
In this Insight, learn how to setup, monitor, edit and deliver Dolby Atmos immersive audio in DaVinci Resolve 17
Learn how to set up Resolve Color Management for success. You'll also see a colorist's node tree, designed for RCM & the HDR Palette.
The new Color Warper in DaVinci Resolve 17 is very powerful, very accurate, but a bit complicated. In Part 1, learn this tool's fundamentals.
In Part 3 of this series, learn how the color grading controls work differently with RCM 2 enabled. Plus, contrast control in the HDR Palette.
In Part 2 of this series, we dig deeper into the HDR Palette and continue exploring its differences from the traditional Primaries Palette.
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.
The HDR Palette represents a major advance in Resolve 17's color grading toolset. Learn about it's core concept, Zones, and how they work.
Sometimes, it's the small features making a huge difference! Learn new color page tools to speed up and improve your workflow in Resolve 17.
Blackmagic Design just announced Resolve 17. We jump on a call to discuss the release, its timing, new features, and our initial thoughts.
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.
In this Insight, Joey D'Anna shows you how he uses the DaVinci Resolve color page node tree to build great looking green screen composites.
Cullen shows how to put the analysis of reference images + analysis of shots on the timeline together to create a cohesive, matching look.
Do the nodes in DaVinci Resolve's Color Page confuse you? In Part 1, learn how to think about using nodes with this intro to the Serial Node.
In Part 2 of this advanced workflow series, learn how you can use Shared Nodes inside Group Grades for quick & easy revisions down the road.
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.
Learn how to fix frame rate problems and create both constant- and variable-rate speed effects (and image processing options they enable).
In Part 2 learn how you can evaluate the source footage on your timeline to answer: Is this footage a good match for our references?
Learn how to use Resolve's Gallery for comparing and sharing color corrections or nodes between different shots.
In part 1 of a new series, learn the essentials of how to interpret and read references for contrast, tonality, and other key factors.
Learn powerful keyframe editing techniques in DaVinci Resolve's Fusion page, using the built-in spline and keyframe editors.
In this installment of From The Mailbag we sit down to talk about tone mapping and how's used in software and on consumer displays.
In this webinar, learn an alternative approach to color grading ACES projects in DaVinci Resolve plus collaborating with others in ACES.
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
If you want to master DaVinci Resolve's Color Page then you need to master its Cloud and Point trackers. This Insight sets you on that path.
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
Learn how to leverage a powerful ACES workflow without any limitations, by customizing it a DaVinci Resolve node tree.
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.
Do your images need to look more colorful? In this Insight, learn 3 color separation tools for increasing perceptual colorfulness.
Learn DaVinci Resolve's Stabilizer and its legacy 'Classic Stabilizer'. This Insight is pulled from our Courses with a new introduction.
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.