Non-Linear Editing and Color Correction

DaVinci Resolve Lite and Lightworks are industry quality free applications for Color Correction and Video Editing (NLE). They have both seen extensive use in several Hollywood Studio Blockbusters. With the availability of these two applications, any independent studio (in the first or third world)  can learn using exactly the same tools as the industry heavyweights.

DaVinci Resolve Lite

DaVinci color correctors have been the standard in post production since 1984. There are thousands of colorists worldwide who understand the performance, quality and workflow of DaVinci. DaVinci is the name behind more feature films, television commercials, documentaries, television production and music videos than any other grading system.

When you’re in a room full of demanding clients with conflicting ideas, colorists know that only DaVinci has the quality, real time performance, creative features and powerful control panel you need to work fast! You can upgrade DaVinci Resolve as you grow! Start by downloading DaVinci Resolve Lite free of charge, then upgrade when you need more power.


Lightworks Beta
Lightworks is a Beta NLE (Non linear Editor) being developed that is currently available for free. Even the Pro version will be less than $100 per year and it appears to have just as many cool features (and slick interface) of the more Commercial apps.

Footage of Lightworks Color Correction


Editing/Grading GH2 Footage

See this page for more general information about the GH2
Panasonic GH2 Overview


How to get the best footage from your GH2/Digicam for color correction

5dtorgb: Mac/Windows – convert AVCHD  (GH2&others) to Prores codec (DaVinci and Retail Lightworks)

Another tool converting the AVCHD (.MTS on the GH2) for Lightworks Beta/DaVinci


4 thoughts on “Non-Linear Editing and Color Correction

  1. neopangaia says:


    From here, the first step Omar took to color correct was a Best Light first pass. Through this, basic color balancing that would be used throughout the film were developed and Omar was able to get a better sense of what scene content would be and how many scenes would need similar looks.

    One of the two most useful features for Omar with the initial setup and first pass was Resolve’s PowerGrade and ColorTrace. With PowerGrades, Omar was able to develop specific requested looks that could be used throughout the film at a single click, greatly improving efficiency.

    With ColorTrace, Omar could compare newly conformed EDLs with a database of source time codes to match original grades. From there, he had the ability to match and update EDLs, ensure that proper corrections were being made and get additional use out of already completed grades.

    “We imported all six EDLs to Resolve and conformed them all in a matter of minutes. The performance of this system was amazing,” Omar said. “And I had many scenes that repeated throughout the reels. Using ColorTrace allowed me to copy grades quickly and easily from the clips of one project to those within another.”

    He continued: “’The Courier’ had several looks and key characters with unique skin tones. I used PowerGrades for those looks and skin tones to be applied respectively throughout the reels in the movie. It helped me work quickly and consistently.”

    Once a first pass was completed, Omar went right into the deeper, more time consuming and intricate color grades requested by the director. For these shots, he relied on a number of Resolve’s powerful features. Features such as unlimited non destructive Nodes, Stills allowing a reference in Wipe or Mix mode to compare color looks for matching and for direct grade copy and pasting, Automatic Image Stabilization, Hue and Sat Curves for fixed vector corrections and real time playback with audio to hear and feel the moods of the scenes he was grading all played an essential part of in the film’s style.

    An additional Resolve feature that was used frequently was the Offline/Timeline Comparison. Through this, Omar was able to verify clip order and recreate effects and grades from the NLE per the client. This allowed him to examine the editor’s version directly from his cut. “The best part is that it’s easily accessible on the T-Bar panel of the Resolve Control Surface.”

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