7 articles in this category
You've seen it before. A clean key, a beautiful composite, and then—a thin dark halo around your foreground object. Or edges that look like they belon...
You've got a Dolby Vision trim pass open. The source is graded for a 1000-nit P3 mastering display. Your trim target is a 400-nit SDR consumer TV. You...
You dropped a DCTL node on a noisy mid-shot. The preview looks clean—no grain, no flicker. Then you zoom to 100% and the subject's skin looks like wax...
So you're staring at a waveform monitor, trying to decide whether to shoot linear or log for a scene that's half sunlit window, half dark wood panelin...
You're three weeks into the grade. The director loves the look. Then the DI session starts, and suddenly skin tones shift magenta on the big screen. T...
You just finished a grade on a $30,000 reference audit. The client signs off. Next week, you open the session for final delivery—and the blacks look f...
You stack LUTs because your pipeline demands it. A technical LUT for Rec.709, a CDL for the scene, a creative LUT for the look—three transform that sh...