I recently had the chance to spend some time with the Blackmagic DaVinci Resolve Micro Panel and in the following post I’ll share my experience. Announced back in March alongside the more advanced and bigger Blackmagic Resolve Mini Panel, the Blackmagic DaVinci Resolve Micro Panel is the
color correction Archive
Getting the proper white balance of your clips should always be taken into account as it’s an essential initial step of every professional color grading workflow. Fortunately, Adobe has made this process extremely easy and straightforward for those editors using Premiere Pro CC 2017 as their primary
Seasoned colorist and fellow filmmaker Alex Jordan of Learn Color Grading and FilmSimplified has produced dozens of insightful color grading tutorials, along with a slew of dedicated courses and numerous free resources on the topic over time. Nevertheless, he still has some handy tricks up his sleeve.
Blackmagic Design has come a long way in the recent years with its professional cinema camera line, but still many filmmakers who’ve been using those cameras on a daily basis are wondering what is the best approach when it comes to color grading BMC footage for optimal results.
If you are like me and prefer to use LUTs and not spend hours upon hours grading footage for a quick-turnaround project, and you’re looking for some easy to apply LUTs that will not only save you a ton of time in post, but also make your
The colourist is usually in a very privileged position of seeing the raw edited material and then applying his or hers very specialist skills to tailor the footage to the will of the director and the requirements of the commissioning agency, while still serving the cinematographer and how they
DaVinci Resolve has been growing its user base ever since Blackmagic Design started bundling the color grading software with new camera purchases of the original BMCC, then the BMPC 4K and the URSA. Shooting in CinemaDNG raw on Blackmagic cameras offers significant benefits in post-production. However the
Shooting digital and trying to emulate that organic 35mm film look has been often been the holy grail for most DSRL filmmakers and those shooting in compressed formats. Up until recent years, getting that film look wasn’t as easy. There’s more to just colour and texture to
For the photographers out there, you’re probably familiar with Adobe Camera Raw. Others, who come from mainly a video background, maybe a bit unfamiliar with the program. Adobe Camera Raw, or ACR as it’s commonly abbreviated in the photography/video world has recently been upgraded to support various
Just a few years ago, we as filmmakers, were stuck with video images, we desperately tried to make more filmic by optical filters, 3:2 pulldowns, and all sorts of DIY diffusion. That was until FilmConvert came about and gave us an incredible film emulator software as a plugin