Uploaded June 2024 | Updated September 2026, 2 weeks ago
This week's live is taking your toughest coloring questions.
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Grab my Voyager LUT Pack. 17 LUTs to provide beautiful looks for any type of project so you can grade faster, take every image further, and attract better and better jobs.
http://procolor.ist/voyager-lut-pack
Get my free Kodak 2383 film print LUT for DWG and ACES here:
http://procolor.ist/freelut
Check out my ebook, The Colorist's 10 Commandments:
http://procolor.ist/ebook
0:00 Introduction
5:56 What are good methods to match two cameras used on set?
8:08 Where should we place halation?
13:59 How do we get more colorist jobs?
16:03 Mastering white point
16:40 How to get better at grading outdoor sports content?
18:17 What are your thoughts on Tetra DCTL?
21:01 Getting to another display than REC709
22:38 How to get more opportunities living away from any major production hub?
26:41 How to create a showLUT for different cameras with different color spaces?
35:28 Is there an easy way to maintain color management but disable color adjustments?
38:23 Best practices for highlight recovery
41:38 How to go from AcesCG to DaVinci Intermediate?
43:05 Highlight recovery in HSV
52:06 Is there a way to stop scrolling in the menu of the CST OFX when moving the mouse?
53:04 When to use HDR wheels
54:54 Is using DCTLs for color space transforms problematic for project archival?
55:38 How to fix two cameras with big exposure differences?
57:20 Using HSL saturation feels better than HSV, is that a problem on my end?
1:01:30 Can I grade to REC2020 using a REC709 monitor?
This week's live is taking your toughest coloring questions.
---
Grab my Voyager LUT Pack. 17 LUTs to provide beautiful looks for any type of project so you can grade faster, take every image further, and attract better and better jobs.
http://procolor.ist/voyager-lut-pack
Get my free Kodak 2383 film print LUT for DWG and ACES here:
http://procolor.ist/freelut
Check out my ebook, The Colorist's 10 Commandments:
http://procolor.ist/ebook
0:00 Introduction
5:56 What are good methods to match two cameras used on set?
8:08 Where should we place halation?
13:59 How do we get more colorist jobs?
16:03 Mastering white point
16:40 How to get better at grading outdoor sports content?
18:17 What are your thoughts on Tetra DCTL?
21:01 Getting to another display than REC709
22:38 How to get more opportunities living away from any major production hub?
26:41 How to create a showLUT for different cameras with different color spaces?
35:28 Is there an easy way to maintain color management but disable color adjustments?
38:23 Best practices for highlight recovery
41:38 How to go from AcesCG to DaVinci Intermediate?
43:05 Highlight recovery in HSV
52:06 Is there a way to stop scrolling in the menu of the CST OFX when moving the mouse?
53:04 When to use HDR wheels
54:54 Is using DCTLs for color space transforms problematic for project archival?
55:38 How to fix two cameras with big exposure differences?
57:20 Using HSL saturation feels better than HSV, is that a problem on my end?
1:01:30 Can I grade to REC2020 using a REC709 monitor?
