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  2. Salvador Ávila
    Who is this course designed for? Intermediate colorists
  3. Daphne FilmLight
    Entries open from 1 May - 31 July to colourists on any grading platform The FilmLight Colour Awards are returning for their fifth year, with colourists, production companies and facilities invited to put forward their submissions from 1 May – 31 July 2025. The awards are open to colourists working on any grading system and are independently evaluated by a panel of distinguished cinematographers, fellow colourists, media experts and industry figures. Once again this year, colourists can submit their favourite projects across six categories:Theatrical Feature; Television Series/Episodic (including documentary/non-fiction); Commercial; Music Video; Emerging Talent (open to colourists age 18-35, for commercial or music video projects); and Spotlight, which recognises colourists who have contributed to the creative impact of a film with a total budget of less than $3 million USD. Since starting in 2021, the FilmLight Colour Awards have gone from strength to strength, with more than 500 entries in 2024, from over 48 countries. “I was inspired enormously by the quality of work,” said George Miller, Jury Guest of Honor, from the 2024 ceremony. “There are many things that allow enthusiasm for the moving image, and two of them are key: the evolution of the tools we have to work with, and the artists whose brilliance we acknowledge here.” Last year FilmLight added the Emerging Talent category, to promote the work of a new generation of colourists. It was won by freelance colourist Douglas Dutton for his work on the ‘Baltic, Harmonical Diffraction’ commercial. “It’s an immense honour to be selected as a winner in the Emerging Talent category,” said Dutton. “Getting recognition from people I look up to in the industry feels phenomenal. Thank you FilmLight for organising this incredible event.” The 2025 winners will be announced at a dedicated ceremony at EnergaCAMERIMAGE on Sunday 16 November 2025, where their projects will be showcased to the global community of cinematographers, colourists and creatives attending the festival. In recognition of their achievement, all 2025 winners will also receive a one year licence for Baselight M, the new macOS version of FilmLight’s Baselight grading system. You can watch highlights from the 2024 ceremony in the new teaser video, here, and see the full list of 2024 nominees and winners here. The awards are led and organised by FilmLight, in conjunction with EnergaCAMERIMAGE. It’s also supported by the AFC (French Society of Cinematographers), AMC (Mexican Society of Cinematographers), ASC (American Society of Cinematographers), BSC (British Society of Cinematographers), BVK (German Society of Cinematographers), CNSC (Chinese Society of Cinematographers), CSI (Colorist Society International), ISC (Indian Society of Cinematographers), ShotDeck (fully-searchable cinematic image library), and more. For more information on the awards, including key dates and category guidelines, please visit: www.filmlightcolourawards.com
  4. Earlier
  5. Willard Jansen
    This is very helpful and nicely presented. I admire your work. I wonder though about one technical issue I have. When I set my color space to Aces in the project settings, I get very dark poster fames in the edit page timeline and clips poster frames on the color page. That doesn't happen id I use unmanaged and set to Aces in nodes. Updating thumbnails doesn't help It happens on all kinds of footage, both REC709 and Log.
  6. Soumitra Sarkar
    Hi everyone, I’m a Baselight colorist working on an upcoming feature film where the primary output is for theatrical release (DCI-P3), but the DoP insists on grading in Dolby Vision HDR first. I initially suggested grading in P3 first since the target audience is theatre-goers, but he’s fixed on starting with Dolby Vision. I’m also aware that Dolby Vision SDR trims do not translate well to cinema P3 DCP Now, there’s an additional request to deliver a version optimized for IMAX — and here’s where I need some guidance. I’ve never delivered for IMAX before, and I want to ensure: The DCI-P3 theatrical output is not compromised, since it’s the main release. I produce a proper IMAX version without just handing over the standard P3 DCP. My Setup: Sony BVM-X300 for Dolby Vision HDR grading. Barco DCI-P3 projector for theatrical grading. please suggest popular workflow & guide
  7. Willard Jansen
    The course really should be updated. It uses Resolve version 15. We're in 19 now
  8. Bledar Cili
    Hello, I am selling my Baselight Edition 5.0 for Avid Media Composer along with the Avid Controller MC Artist due to lack of use. The license is also compatible with Tangent Element Controller. Price: €900 for both Version: 5.0 (Does not include an update to version 6.0) If you’re interested or have any questions, feel free to contact me. idproductional@gmail.com
  9. Harold Bjork
    In DaVinci R, G, and B values are adjustable from -3 to +5. The values given works fines. Check Monochrome and use decimal format of percent. 100%/100 = 1.00, etc...
  10. Astro77
    The flashback effect in DaVinci Resolve can be created using a combination of color grading, blur, and overlays.
  11. D. Skousen
    This was a very helpful class. Thank you.
  12. Astro77
    It’s exciting to see how much the FilmLight Colour Awards have grown in just four years. The lineup for 2024 looks impressive, especially in the Theatrical Feature category with titles like Dune: Part Two and Furiosa.
  13. ahmed abdelmaged
    can any one help me to get davinci resolve flashback effect thanks you for your time
  14. hersh chauhan
    hey, does this course teaches how to create film print emulation (the industry way) ?
  15. Kishore M
    Hi Everyone, I am new to colour grading and I would like to start with courses here in Lowepost. Is there a specific learning path for beginners in Lowepost? Thanks in Advance!
  16. CHANDAN HOLLA
    Yes, I'm interested!
  17. szabolcs barta
    Hello, I would like to buy an oled tv for client monitor purposes. The much mentioned Panasonic GZ2000 or LG C2 or C3 are no longer commercially available. I would be interested to know what similar alternatives are now available in Europe in 2024 -2025? Thanks in advance for any suggestions.
  18. Daniel Duus
    Great course.
  19. Marcelo Cosme
    Hello, I'm going to do some color grading work outside my company and the client has a 27" QHD OLED monitor (2560 x 1440) for reference. I'll be working on 2 projects, one of them in 1080p (FHD) and the other in 2160p (UHD). Currently Davinci doesn't have a QHD monitoring output. The computer is using a Decklink mini monitor 4K via HDMI. What can I do? Thanks!
  20. Marcelo Cosme
    I have a question that needs to be resolved. I currently use a Decklink Mini 4K monitor with my reference monitor via the HDMI port, but I would like to have this image on an LG TV for my clients. How can I do this? Thank you!
  21. Mustafa Rumey
    Thanks you for sharing !
  22. Jatin Soni
    I am excited about this tutorial. However, I found that the footage folder is missing from the project file zip. Can you help me with it?
  23. Jatin Soni
    Hello, Thank you for the course! I'm eager to learn Fusion, but I need assistance with importing and setting up the database in DaVinci Resolve 19. All projects aren't importing, as demonstrated in your video. Could you please assist me?
  24. Daphne FilmLight
    FilmLight Colour Awards reveal 2024 winners Six colourists crowned 2024 winners as the art of colour grading is celebrated at EnergeCAMERIMAGE 2024 The winners of the 2024 FilmLight Colour Awards were announced on Sunday, 17 November at a dedicated ceremony at EnergaCAMERIMAGE in Poland. The ceremony was opened by director and 2024 ‘Guest of Honour’, George Miller, before the awards were presented by this year’s jury president, cinematographer Mandy Walker, AM, ASC, ACS. “On behalf of our immensely talented jury, I would like to congratulate the winners of the 2024 FilmLight Colour Awards,” commented Walker. “Each artist has shown a resonant point of view into how we can both view and reflect the world on our screen. It is brilliant to celebrate how different colourists can collaborate to shape different projects. Colour is a universal language, and it has been our honour to celebrate the vivid brilliance of creatives from all over the world. From stark dramatic imagery to lush vibrancy and everything in between, we are forever inspired and excited to see what is to come.” Theatrical Feature Dune: Part Two – graded by David Cole at FotoKem Furiosa: A Mad Max Saga – graded by Eric Whipp at alter ego WINNER: Poor Things – graded by Greg Fisher at Company 3 Saltburn – graded by Matt Wallach at Company 3 TV Series / Episodic Eric (season 1, episode 1) – graded by Toby Tomkins at Harbor Expats (season 1) – graded by Seth Ricart at RCO Griselda (season 1) – graded by Ian Vertovec at Light Iron WINNER: The Zweiflers (season 1) ­– graded by freelance colourist, Manuel Portschy Commercial Air Canada, Ticket to Dream – graded by Wade Odlum at alter ego McDonald’s, We the (In)visible – graded by freelance colourist, Manuel Portschy Riyadh Season: Crawford Vs Madrimov, Everything Or Nothing – graded by Philip Hambi at The Mill WINNER: Zara, SS24 STUDIO COLLECTION – graded by Tim Masick at Company 3 Music Video WINNER: Brodka x Igo, Myślę sobie Ż – graded by freelance colourist, Nadia Khairat Gomez Kaismos, Sailed – graded by Sylvain Canaux at Saint Louis Nettspend, Nothing Like Uuu – graded by freelance colourist, Brian Charles Shake Stew, Lila – graded by freelance colourist, Manuel Portschy Spotlight Asleep in My Palm – graded by freelance colourist, Andrew Ceen WINNER: La Espera (The Wait) – graded by Raúl Lavado Verdú at Misterio Color Lab Showdown at the Grand – graded by colourist, Asa Fox The Featherweight – graded by Sam Daley at Light Iron Yurt – graded by freelance colourist, Pascal Nowak at Cosmodigital Emerging Talent WINNER : Baltic, Harmonical Diffraction – graded by freelance colourist, Douglas Dutton NBA, Everyone's Game, DC – graded by freelance colourist, Ryan Urzi Nike Mexico, Piérdelo Todo, Gánalo Todo – graded by Stephanie Park at Rare Medium Woolworths, Brand Reset – graded by freelance colourist, Terry Simpson For more information on the awards, visit: www.filmlightcolourawards.com ###
  25. Omar alshalali
    watch this may help you
  26. ahmed abdelmaged
    can anyone tell how can can I make this filter on davinci resolve
  27. Lowepost
    This course focuses on developing a thorough understanding of color distribution in DaVinci Resolve. You will get a deeper understanding of how the main color correctors works through the study of the scopes and color viewers. It's also useful for colorists who want to effectively analyze and manipulate color within Fusion's powerful framework. The footage used in this course is available for download. Download project files About the instructor Lee Lanier has created visual effects on numerous features films for Walt Disney Studios and PDI/DreamWorks. Lee is a world-renowned expert in the video effects field, and has written several popular high-end software books, and taught at the Gnomon School of Visual Effects in Hollywood. Who is this course designed for? DaVinci Resolve users Compositors Finishing artists Lessons overview 01: Order of events 02: Understanding color viewers and color distribution 03: How color controls affect color attributes in Fusion 04: The color viewers in the color module 05: HDR in Fusion and color controls 06: Introduction to the HDR Wheels
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