Tom Evans

That was the problem exactly, thank you. How do I change the reference clip timecode instead? 

I have linked the offline reference clip to my timeline in Davinci Resolve, but the player window says Media Offline. Any idea why?

A Color Assist works side by side with a Colorist and Color Producer. Developing a close working relationship with the Colorist and Producer is vital and only possible if the Color Assist has an intrinsic understanding of the Senior Colorist's technical and creative methods. 

Although an Assist reports to the Senior Colorist, they must also have the ability to work and communicate closely with the Color Producers, clients and VFX teams. 

The Colorists and Assist must establish a highly developed sense of color imagery coupled 
with a strong creative and aesthetic sensibility and an in-depth knowledge of the whole post-production process including current technical specifications of film, video and data formats. 

Responsibilities:

• Preparing suites for colorist arrival
• Ensure projects are fully prepared in readiness for sessions
• Conforming and QC edits for the days sessions
• Contacting editorial to resolve any issues
• Create postings for stills and viewing links
• Manage an always changing list of tasks for the day
• Facilitating any editorial changes and colorist needs throughout the session
• Performing a thorough QC of all projects before and after render
• Complete renders promptly after sessions as required in delivery specs

Requirements

MPC is an award-winning global creative studio; we combine our talent, technology and craft to create memorable and distinctive experiences across a range of channels and platforms. 
We are always looking for talented individuals to help us push creative and technical boundaries.

Qualifications

• Must be able to work in Baselight
• Maintain a positive attitude in high stress environments and work well under pressure
• Strong understanding of the post process and overall knowledge of production workflow, including VFX
• Must possess strong work ethic
• Highly motivated self starter and creative problem solver
• Excellent communication skills both written and verbal
• Punctual and highly detail oriented
• Critical thinking and have the ability to multitask and prioritize
• Able to work a flexible schedule with the availability to work overtime and some weekends
• Must know latest camera codec, color space, and file formatting specs
• Ability to read EDLs and flag issues
• In-depth knowledge of color grading workflow and techniques

https://careers.technicolor.com/job/new-york/color-grading-assistant/3488/7070809

Thank you Miodrag, it solved everything! How does the ARRI META EXTRACT work?

It seems like VisionColor is the company that pushes both Osiris and Impulz LUT collections. Do you know anything about this company or their products?

Can somebody guide me to the most popular LUT collections out there? 

I accidentaly deleted some power grades inside DaVinci Resolve. Any way to bring them back?

Can a LUT that is applied in the Alexa camera while shooting transfer to DaVinci Resolve automatically when it's not shot RAW but Apple ProRes 4444? 

Comapany 3 LA need a color assist working night shifts. Need to know Davinci Resolve well. Contact howard.lin@bydeluxe.com.

RCO Color & Finishing is seeking a full time Junior Colorist to join the team. The Junior Colorist will work directly with our Senior Colorist as support for both features and commercials. You will also be provided the opportunity to work on lower budget projects to help build your experience and portfolio. Ideal candidate is someone who is looking to push their creative ability, eager to learn emerging technologies, and a natural problem solver.

Qualifications Include:

1. 3+ years grading commercial and feature length projects.

2. Proficient use of DaVinci Resolve required, Linux familiarity and knowledge of conform and finishing.

3. Intimate knowledge of color science and post production processes.

4. Strong technical background - ability to troubleshoot render issues, etc.

5. Some experience supervising sessions and working within a team (Assist, Sr. Colorist, Producer, Compositor, etc.).

Send Resume, Contact Information and Portfolio/Reel to marybess@rco.tv.

That is actually pretty clever as I can use the contrast + pivot to build the base, paste it on to a greyscale and copy it manually on to the curves. Thank you!

I really like to use the contrast + pivot tools with log images, but I feel like I loose some control as it doesn't visualize the curve the same way as if I had drawn it myself. It probably is a stupid questions, but is it possible to map the contrast + pivot tool corrections to the main luminance curve so that I can see and work further on the same curve with the traditional curve tool?

I'm experimenting with copying the gamma curve only on a film emulation LUT and to da that I need to get rid of the color bias in the original LUT. Is it a way I can disable the individual RGB curves so that I only see the y-only curve? Can you point me in the right direction?

I have applied a LUT to a greyscale and tries to read the data on a waveform but I'm a little confused. When I open the effect editor and tick Y only or YRGB I do only see the luminance curve and not the different components.

When I click R,G and B only I see the different components.

Is this normal behavour? I find it a bit strange that I can't see the components + y only together by ticking Y,R,G and B.

I must admit that when I heard the name the first time I thought it was a joke, but I see that the guys are working hard and that the project seems serious. Have you joined and for what reason? 

Is it possible to export a Quick Time Same As Source from Avid Mediacomposer and an EDL for relinking in DaVinci Resolve or is an AAF the way to go? What is the recommended round-tripping to Avid from Resolve without relinking to other media than what is used in the project? I will use the MXF-files in the media folder, not the original RED files.

It seems like many features have their top highlight levels set quite low, is that a correct observation? I understand there are many considerations, but where on the IRE scale do you usually end up putting them?

Any tips on how to approach a pastel palette when working with strong primary colors?

http://www.company3.com/seven-sundance-features-colored-company-3/

Hope you managed to get it to LA without too much stress! It seems from your feedback that Koji is nothing more than a marketing hype.

Any news on the internal media management tool after the latest updates, or is Collect still an option?

Can someone please list an ABC guide on how to set up DaVinci Resolve for ACES?

That would be great Dermot, I can't see how Koji could get closer to the various stock types than than the ones that Fuji and Kodak provides for free themselves.