This interview is a good read.

(video) "Among the most accomplished feature film colorists in Hollywood, Stephen Nakamura has worked alongside directors such as David Fincher, Ridley Scott, Kathryn Bigelow, Spike Lee, David O. Russell, and Steven Spielberg, as well as cinematographers Dariusz Wolski, ASC, Claudio Miranda, ASC, Robert Richardson, ASC, and Janusz Kaminski."

(webinar) Hey! I'm being interviewed this week, along with Oliver Peters, who I frequently link out to, in a Zoom webinar. Join us for this roundtable!

"This week we sit down with Oliver Peters and Patrick Inhofer to talk post production and their experience in grading. Both Oliver and Patrick have provided great resources with their blogs that provide reviews, tools, and tutorials from grading to audio." Free registration is required. Wed, Aug 11, 7pm Eastern.

(video) Colorist Evan Schneider: "I break down the process and workflow as well as how to find a colorist and share your work."

(podcast) "Beyond the tech we also discuss the deeper theory and practices of editing, how to approach dailies & script analysis, and so much more."

“Using this scale, I am sure that nobody is ‘black,’ and absolutely nobody is ‘white,’ says artist Angélica Dass." (via Steve Hullfish)

Your cord-cutting Newsletter editor tried to figure this out for two nights, bailed, and has basically missed the Olympics. Apparently, it wasn't my fault: "Most events aren’t live on Peacock at all. Some events (and popular ones at that) are only on Peacock’s paid version. If you want to watch everything, you’ll have to flip between streaming devices and cable. And that’s if you even still have cable."

(forum) "Based on the new colour engine algorithms the Grey Scale Plus profile enables, there should be marked improvement in WOLED calibration, at least vs. the traditional Grey Scale Only Quick Profile, but should also generate results that are close to those of a large volumetric patch set. Please do post your results and feedback here." Click through to read their users' results.

First - a huge congratulations to Mike Woodworth! He's a colleague from the early 2000s when he was working at Oxygen network in NYC and supported me whenever I was brought in as a freelance colorist. Hedge looks like a great fit to further ScopeBox and EditReady.

"We're not raising money to fuel user growth. We’re doing so solely to grow the team and thus the products. That’s why we involved not VC but industry veterans - people intimate with media workflows, and a knack for understanding user needs." Click through to see how else Hedge is investing their money, besides the acquisition of EditReady and Scopebox... and the role played by the legendary Steve Bayes.

This FCP template builder is now offering a variety of its graphics packs for DaVinci Resolve. I haven't checked them out yet but I thought a few readers might find it interesting.

From friend of the Tao, Oliver Peters: "The following is a simple PowerGrade (node sequence) that can be used as a starting point for most color grading work. It’s based on using log footage, but can also be modified for camera RAW or recordings in non-log color spaces, like Rec 709." If you're new to fixed node structures in DaVinci Resolve, this is a good entry point.

Scott Simmons does something you don't see very often... he pairs a consumer control surface with Avid Media Composer. This is his review.

(video) Colorist Darren Mostyn tackles a topic that never stops needing explanation.

"I predominantly edit in Premiere Pro and grade with Resolve. I’ve been tinkering with color management settings in each. The goal is a reasonably close match across both app viewers, the output I see to a Rec 709 display, and the look of the exported file when I view it in QuickTime Player on the computer."

For my on-set peers: "The bundle includes Assimilate's Live Looks® for live grading, industry leading Hedge® for camera-media offload and back-up, and Assimilate’s Scratch®, the essential tool for dailies transcoding and reporting, all running on macOS and Windows."

"Was Grant Petty channeling Rodney Dangerfield when he discussed how we should better respect classic analog NTSC/PAL interlaced footage?"

(podcast) "Team Mixing Light discusses Patrick Inhofer's & Dan Moran's newest Dolby Vision projects & the challenges they faced."

(video) "Joey D'Anna shows you how to use the DaVinci Resolve Match Move ResolveFX plugin for powerful tracking, stabilization, and paint work."

(video) "In part 5 of his ongoing series on coding DCTLs, Cullen Kelly starts to get into the thick of the tool he's creating - exploring how to define and code contrast."

Lots more like this if you click through: "The Intel Xeon W-3300 processors are not only slightly more expensive than the comparable AMD Threadripper Pro models, but you have to change the Windows power profile in order for them to match AMD."

Because inquiring minds want to know...

"Apple says that these new graphics modules can offer up to 23% faster performance in DaVinci Resolve and 84% faster in Octane X." But the price? Click through. Beware: The numbers are not for the faint of heart.

I have one or two clients I'm really tempted to email this article to. But I'm not quite sure if they'll be offended? On the chance you may have client who will appreciate the not-so-subtle nudge, I've included it in the Newsletter.

This article is both technical and fun. Unlike my previous item, if you forward this to a client they'll probably appreciate it.

In high school I became obsessed with Stanley Kubrick and this was the film that started it for me. I rented it on a lark on VHS back we had video rental stores, before even Blockbuster was a thing.

(video) Line frequency, sample rates, UMatic. Alright, not funny. BUT - watching this down at 1.5 speed... by the 8 minute mark I was laughing. Or, just watch it in real-time and learn 'the why' of those pulldowns we have to consider every time we export our images.