Colorfront
Colorist Paul Handley makes the case for Rec.709 as a viable shooting option and walks through his node-based workflow for getting the most out of both 8-bit and 10-bit footage.
Color Grading
Broadcast colorist Darren Mostyn uses Omniscope alongside DaVinci Resolve for a reason. His breakdown of shadow waveforms, skin tone indicators, and Twin Peaks scopes is worth understanding.
davinci resolve
Sven Hegen's free NOIR Generator DCTL for DaVinci Resolve just got its biggest update — new diagnostic patterns, a major Ramp and Exposure Patches overhaul, and overlay support. Here's what changed.