Abby Bader

Isn't it just the regular Resolve PFE LUTs which can be found in the Resolve LUT folder?

It would be interesting to see what could happen if Avid, Pro Tools, and Baselight were integrated into a single application.

Personally, I think one of the most important parts of succeeding as a colorist is learning the art and craft of color grading, rather than focusing only on the technical side or simply knowing which buttons to push. Software and tools will continue to change, but a strong understanding of color, contrast, storytelling, and how an image should make the audience feel will always be valuable. I find this course incredible useful:

Hello everyone, I'm moving to Berlin in August and need to put together a remote color grading setup. I'd love to hear any recommendations. Also, if you're willing to share photos or details of your grading setups, I'd be very interested to see what others are working with. Thanks!

Works fine here

Well, I see what you mean, but his focus class is on explaining concepts and grading workflow rather than walking through specific footage step-by-step. As long as the principles are clear, you don’t actually need the exact same footage to follow along. The goal is to understand the process so it can be applied to any context, not just to a particular set of frames. If you want step-by-step tutorials I recommend the DaVinci Resolve training, for examples the ones with Kevin to start out with.

To improve separation, try dialing in the contrast on a black-and-white version of the shot. Additionally, look at subtracting color from objects far away etc to help get better separation.

The VFX department should verify that the delivered files match exactly what they received. Please note that full-range vs. legal-range color space differences can cause slight color shifts.

It's just a master file with the transform disabled, point is to future proof the archiving.

This course walk you through several alternatives, worth watching:

Excellent course Josh!

There are two files in the ZIP-folder, import the "DRX" into your still album and the node tree will be available to you.

Apply the transform first, then adjust exposure and balance in a prior node. Again, watch the pro training with Kevin to understand how to set up this workflow. If you already have, watch it again.

Apply the transform first, then adjust exposure and balance in a prior node. Again, watch the pro training with Kevin to understand how to set up this workflow. If you already have, watch it again.

People have different ways of working, I think it's about finding a workflow that you feel comfortable with. Personally I prefer to start with global exposure and balance prior to the transform and build from there if needed. Also, look into what color management (RCM/ACES) can do for you. It can take you to a nice place pretty quick.