Tales From The Grading Suite – Pains In The LUT As you can imagine being a full time colorist leads to many moments, pains, joys and laughs…
Reverse Engineering LUTs (Look Up Tables) Continuing in our series on Look-Up Tables, this Insight was created to answer a question asked by one of our members:…
In What Are the Limitations of LUTs When Color Correcting in 32-bit Float I demonstrated how typical camera LUTs (used for expanding the contrast of ‘flat’ log-recorded…
Patrick’s “3-Node Approach”: Limitations you need to understand When it comes to working with flat, log-recorded images I’m a big proponent of using 3 nodes in DaVinci…
Why Three Nodes? In Mixing Light Insight 008, I demonstrated how the exposure of an image can radically change the effect of any single LUT on that…
What is a LUT(and how do you use a LUT)? A Look-Up Table (LUT) is mathematically precise way of taking specific RGB image values form a source…
Before & After: Building Contrast Curves with Resolve 12 If you missed it, Dan and I have previously done a 5-Part series on color correcting in DaVinci…
Dealing with Saturation in LAB Colorspace There have been quite a few comments in my previous Insights on LAB Fundamentals. And mostly, the question revolves around dealing…
DaVinci Resolve: Node Trees for LAB – Working more efficiently Should you do all your LAB colorspace work in a single node? Or in multiple nodes? Should…
Working in LAB Colorspace: Is it effective? In our series on LAB color in DaVinci Resolve we’ve been looking at the theory of color contrast expansion in…
One of the superpowers of LAB, is how the brightness channel is distinctly separate from the color channels. In Part 1, we explored how to add color…
Starting with Photoshop In a previous Insight I shared with you my enthusiasm for the new option in DaVinci Resolve 11 to color correct within the LAB…