The best colorists in the world share their insight!
Colorist Stories
In this exclusive collection of in-depth interviews with the best colorists in the world, you will get an unique insight into the world of professional color grading. Learn color grading techniques used on the largest film projects in the world, and watch exclusive videos and images from their favorite projects.

The contributors to this collection of interviews are senior colorists from recognized post houses such as Technicolor, The Mill, MPC, FotoKem, LightIron, Company3, Efilm and many others.
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Master Study in DaVinci Resolve Printer Lights
Master Study in DaVinci Resolve Printer Lights
Learn how to do primary corrections and creating looks with DaVinci Resolve's printer lights. This article dives deep into professional workflows and theory of one of the most popular color grading tools available today.
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Watch Tyler Roth from Company 3 LA color grade a TVC
Watch Tyler Roth from Company 3 LA color grade a TVC
We have recorded nine short videos (monitor only and no audio) from a color grading session in DaVinci Resolve with colorist Tyler Roth from Company 3 LA.
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Colorist Eric Whipp, A tale from the color suite
Colorist Eric Whipp, A tale from the color suite
"I suddenly went white with fear. I went over to the telecine and saw scratch marks along the neg, and dust all over the machine. I then noticed that all the sprockets had ripped and now the machine could not play the film. I had just aggressively scratched 30 minutes of original negative. Not good." - Eric Whipp
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Creating the Silver Retention Look in DaVinci Resolve
Creating the Silver Retention Look in DaVinci Resolve
Silver retention techniques are used to emulate the famous bleach bypass look, but they are also important parts of creating other popular looks. In this video tutorial we will walk you through the techniques step by step.
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Beginners guide to stereoscopic understanding
Beginners guide to stereoscopic understanding
Stereoscopic Imaging is a technique used for creating the illusion that an image has depth. In this post, senior colorists John Daro from Warner Bros takes you through the basics. Lowepost got stereoscopic courses in both After Effects, DaVinci Resolve and Scratch.
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What is really the difference between ProRes and DNxHR?
What is really the difference between ProRes and DNxHR?
Both Avid DNxHR and Apple Prores codec families are designed to meet the needs of modern, streamlined post-production workflows. But, are there any differences?
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What does it take to become a colorist?
What does it take to become a colorist?
Parker Jarvie worked his way up in one of the top post production companies in the industry - Company 3. Read how.
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Basegrade and the evolution of color grading tools
Basegrade and the evolution of color grading tools
Colorist and workflow expert Andreas Minuth takes an in-depth look at BaseGrade, the grading operator that is intended to replace classic color grading tools.
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Time management strategies in the color suite
Time management strategies in the color suite
How to deal with time management when you are up against the clock and have to reach a deadline? Senior Colorist Sam Daley, Deluxe New York shares his strategies.
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CDL - Technical whitepaper
CDL - Technical whitepaper
Daniele Siragusano takes you through the technicalities of CDLs.
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Creating the Spotify Look in DaVinci Resolve
Creating the Spotify Look in DaVinci Resolve
The popular duotone-look was re-introduced with the new colorful brand identity of Spotify. In this Look-tutorial we will walk you through how to create it in DaVinci Resolve. The RGB-mixer plays a powerful role to highlight important parts in the image.
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Color Timing explained by legend Jim Passon
Color Timing explained by legend Jim Passon
Jim passon has color timed dozens of blockbusters; Avatar, Titanic, Star Wars, Jurassic Park , Spiderman to name a few. In this post Jim explains how color and density was balanced with the old color timing process.
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LUTS - Technical whitepaper
LUTS - Technical whitepaper
Dr. Mitch Bogdanowicz has worked as a color scientist at Kodak Eastman for 32 years and generated LUTs for the motion picture industry all those years. In this technical whitepaper he explains the different types of LUTs, how to invert them and how they are created.
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Creating a day-for-night-scene in Scratch
Creating a day-for-night-scene in Scratch
In this 12 minute screen capture (UI, no audio) Tobias Wiedmer creates a day-for-night-look on a feature film scene using Scratch. The color grading techniques applied here can use done in any color corrector.
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