![]() I credit Dan and his book Professional Photoshop: The Classic Guide to Color Correction for launching me into the world of color grading as a serious study. What is it about LAB that gets me jazzed? Four words: ![]() So here we are, an initial Insight about color correcting in the LAB colorspace. Well, we’re nearing the end of 2014-and I’ve just got to say: Thank you Jim for re-igniting my desire to learn about LAB! With the release of Resolve 11, I made a medium-term goal of learning this workflow before 2014 wrapped up. That conversation renewed my enthusiasm for learning how to work in LAB. I got very excited to hear this – but our wives were with us and rather than bore them to death, we promised to pick up the subject at a later date. He mentioned his forays into LAB colorspace, which he was using with great effect. ![]() This weekend I was sipping Port with my Tao Colorist Newsletter Managing Editor Jim Wicks. And you don’t hear of very many colorists making use of LAB… or if they are, they’re keeping it close to their chests. The LAB colorspace was introduced in Resolve 11 without much mention outside the Release Notes. It’s this feature right here: Switching a node into LAB colorspace in DaVinci Resolve 11 (with only the L-channel enabled). Of all the new features introduced, a single innocuous add-on got me really REALLY excited. The upgrade to DaVinci Resolve 11 may seem like it’s focused on its editorial toolset but it also introduced a host of new features for their core colorist users-you and me. LAB Colorspace: A re-Introduction and Overview (with DaVinci Resolve 11) Tutorials / LAB Colorspace / Breaking Down the LAB Colorspace Toolset in DaVinci Resolve 11 Series
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