Felipe Plazas, 709 Media Room user

Very professional







A single DaVinci Resolve project ensures that color corrections remain identical at every stage of production — starting in the color suite with the look design, continuing on set with the DIT and the lab, and concluding in the final grading session.

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Original price was: 45,00€.Current price is: 29,00€.

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In today’s increasingly integrated audiovisual environment, ensuring color continuity from shoot to final postproduction is essential.
This course provides a complete workflow methodology inside DaVinci Resolve, designed to unify the work of the DIT, the lab, and the colorist within a single project.
Through a clear and flexible structure, you’ll learn how to implement a professional-grade pipeline that guarantees visual consistency across every stage of production — even in the most demanding, high-end projects.

The training is divided into five modules, covering everything from the initial project setup to look creation, on-set DIT workflows, dailies and transcodes preparation, and the final conform using an EDL.
It also explores compatibility with environments such as ACES and traditional pipelines based on LMTs and CDLs, allowing you to integrate creative tools that usually fall outside a standard LUT.
This course is designed for professionals seeking technical efficiency without losing creative control at any stage of the process — all within a single DaVinci Resolve project, ensuring that color corrections remain consistent throughout every moment of production.

An excerpt

Program

Module 1: Introduction and workflow fundamentals

▸ DIT-Lab-Color Flow Principles

▸ Advantages of using a single centralized project.

Compatibility with ACES and CDL/LMT streams

Review of advanced tools not included in LUTs (OFX, masks, etc.).

Module 2: Configuration of the mother project

▸ Creation and adjustment of the basic project

▸ Structuring of timelines, bins, and folders.

▸ Version management and daily backups from running-in

▸ Key settings: frame rate, resolution, scaling, color management, reel name

Module 3: Work of the color department

▸ Creation of looks (LMT) and Power Grades

▸ Organization of the node tree and use of stacks.

▸ Export of customized LUTs for camera.

▸ Setting up a DIT and post-production compliant environment.

Module 4: ITL work on set

▸ Material intake and allocation of IDTs.

▸ Application of CDL looks and settings from the first node.

▸ Correction of blanking, aspect ratio and sizing.

▸ Filling in technical and narrative metadata.

Export of ALE, CDLs, TIFFs and reference files.

Module 5: Laboratory and Final Forming Processes

▸ Media relinking and sound synchronization.

▸ Rendering of transcodes and dailies with burn-ins

▸ Use of proxies to speed up rendering.

▸ Management of special materials (drones, anamorphics, archiving).

▸ Final forming with EDLs and automatic recovery of corrections.

▸ Preparation of the project for the final color stage.

Objectives

  1. Implement an end-to-end workflow in DaVinci Resolveto ensure visual consistency from the shoot to the color room, seamlessly integrating DIT, lab and post-production departments.

  2. Mastering the creation, implementation and management of professional looksusing advanced tools, layered nodes (stacks) and flows compatible with ACES, CDL and LMT.

  3. Efficiently manage all types of material and metadata, including non-conventional media, sound sync, dailies generation and final conform for color grading.including non-conventional media, sound synchronization, dailies generation and final conform for color grading.

Teaching Staff

IMDB profile LINKEDIN

Jorge Iguaz | Colorist

EDITING AND IMAGE POST-PRODUCTION DEPARTMENT
Junior Colorist and Online Editor for X-Post Secuoya. He has worked on projects for film, TV and streaming platforms for national and international services such as Warner, Amazon Prime Video, Netflix, Movistar +, Vix +... Working with workflows in ACES, HDR and Dolby Vision, mastering in DCP and IMF. Graduated in Film from UCJC with high academic recognitions. Outside the field of postproduction, his work has been seen in festivals such as the Medina del Campo Film Week, the Madrid Short Film Week or the Cinema Jove in Valencia. You can check her LinkedIn profile and her IMDB page

Aimed at

Colorists in DaVinci Resolve, editors, cinematographers, digital image technicians, producers, filmmakers, and all those who want to learn advanced techniques and tools to boost their color corrections to a higher level.

To take the course, it is necessary to have basic photographic knowledge, as well as basic knowledge of post-production, color, and DaVinci Resolve. The course does not cover color correction theory or its processes, nor the use of the DaVinci Resolve tool. This is a course specifically focused on practical color correction of real sequences.

Materials

All materials used in our courses are high-quality files, captured with professional cameras on the market.

+ Info

SOFTWARE USED: DaVinci Resolve

Interested in our course? Need more information? Contact us at info@709mediaroom.com and we will answer all your questions!

Course code: CO-DITLC-GEN15

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They are very well structured courses given by real professionals and very easy to follow in order to deepen your knowledge of the tools.

Carlos / Alumno de los cursos de DaVinci. España

Good and affordable courses

Álvaro / Alumno de los cursos de color y DaVinci. España