Tutorials

When Resolve 10 was announced I was very happy because of the fact that there would be support for OFX plugins. One of the things I often get asked during the grade is if I can add grain. Until now I had to say that we need to do that in the online suite. Now […]

During my freelance years I have been working on many different grading systems and panels. Recently I started a new Post house with some people and to keep the costs down we decided to use a Tangent Elements panel instead for going with the large Davinci Resolve Panel. When using large panels there is often […]

I am working on a large project, 2 times 90 minutes cut in FCP 7. When we tried to get the material into Protools we got a problem when using OMF from FCP. Protools couldn’t match the clips to the field recorder files using the “Matching Field Recorder Channels” function. After many hours of trail […]

In my work I often need to collect files from different sources or from slow sources to a fast RAID on my DaVinci Resolve machine before I start color grading. Another reason to collect my sources is when I am done with my project and I want to make a backup of just the files […]

When grading I sometimes get the whole film as one clip which I then split up in pieces, but I always ask my clients if they can provide me with the original files so I can conform from them. The reason is that I want to work with the best quality possible. But does rendering […]

The Image Systems Precision panel is a great panel, but nothing is better then a panel that you can improve yourself and this is easily done. In this tutorial I will go through two steps to improve the usability. The first step is simpler and uses the Preferences Assistant and the second step is by […]

When using Davinci Resolve most of the time you use Serial nodes and in some instances you use Parallel nodes. In some cases Parallel doesn’t do the job, instead you can use Layer Mixer. If you want to have a B/W image and want to keep 2 colors you can do the following. PARALLEL – […]

If you want to display your film in a digital cinema at highest possible quality, equivalent to a 35mm film print, DCP is the way to go. DCP (Digital Cinema Package) is a world wide standard ‘file format’, playable in every digital cinema all over the world. Since colorists are one of the last persons […]

A few days ago I saw a tweet from someone who needed help with a corrupted EDL. Since I like challenges and to help out I contacted him and he sent me the EDL. The original EDL was 70 events long and he wanted to add another 50 events to it which where in another […]

The ACES system has been created by the Academy of Motion Picture Arts & Science technology committee in order to achieve a more accurate color pipeline, regardless which camera you are using. The idea is that this pipeline will be manufacturer independent and of course HDR compatible. The ACES color space is based on a […]