Mixing Light

15 stories

Mixing LightSoftwareEditors & Colorists: Getting clients, keeping clients, making money Learn how freelance colorists and editors find clients, write contracts, work out their break-even days per month, and how to raise rates.

11.03

Mixing LightSoftwareThe ‘Someone Should’ – Final Edition — Sunday Morning Color Grading Newsletter The Colorist Newsletter closes out 16 years of publishing with a reflection and thank-you.

11.01

Mixing LightSoftwareMixing Light has suspended operations Effective immediately, Mixing Light is suspending operations. The site will remain accessible for one year to honor existing memberships.

10.26

Mixing LightSoftwareThe Too Colorful Film Edition — Sunday Morning Color Grading Newsletter The (mostly) Weekly Colorist Newsletter returns! Stories include: haiku cinema, colorist Stephen Nakamura, Resolve 21.1, and more!

10.11

Mixing LightSoftwareRemote Post Without The Cloud Bill: Can peer-to-peer storage replace LucidLink? Loren Mally (OWC) and Michael Cioni (Strada) demo a seven-person doc team working with RAW media remotely off their own Jellyfish NAS, no AWS.

10.10

Mixing LightSoftwareMixing Light v3.0: Deep Video Search, Community, New Dark Look Mixing Light 3.0 is revealed: deep video search that finds exact moments, Insight discussions on Discord, and a single All Access membership.

10.07

Mixing LightSoftwareGrading Film Scans: Film Print Emulation Field Guide Pt. 5 Grade real 35mm film scans in Resolve: remove overscan, proof with a print LUT, tame clipping, and color manage Cineon in ACES.

10.01

Mixing LightSoftwareAgentic Coding For Baselight Using The API And Claude Code See Colorist Corey Martinez build a custom Baselight mark-conversion script with Claude Code, the Python API, and troubleshoot it.

09.26

Mixing LightSoftwareGenesis 2026: A Film Print Emulation Field Guide Pt. 4 Genesis builds its film print emulation from Kodak's white paper math. See how its negative/print controls work. Compare to four alternatives.

09.10

Mixing LightSoftwareHardware Prices Are Spiking: How do you budget a workstation today? Puget Systems' Peter Emery on why RAM and GPU prices spiked, where to spend and where to save, and unified memory vs a discrete GPU.

09.08

Mixing LightSoftwareFilmbox 2026: A Film Print Emulation Field Guide Pt. 3 See where Filmbox's polish comes from: Lab controls, printer lights, print systems, and expired Vintage Cinema film stocks.

09.03

Mixing LightSoftwareBack To Basics–Fusion: Master The Keyframe/Spline Editors (Pt 6) Get working in Fusion's Keyframes and Spline Editors: mastering the viewer, aligning keyframes, and infinite looping animations.

09.01

Mixing LightSoftwareDehancer 2026: A Film Print Emulation Field Guide Pt. 2 Why does Dehancer's default feel so rich? Explore negative-only film emulation, print-side controls, and the posterization fix.

08.27

Mixing LightSoftwareDemystifying White Balance Controls in DaVinci Resolve Gain, Temperature, HDR wheels, Chromatic Adaptation, or ACEScc Offset? Dissect Resolve's white balance tools to find what sets them apart.

08.25

Mixing LightSoftwareFilmConvert 2026: A Film Print Emulation Field Guide Pt. 1 Learn why film emulation plugins never match, then tour FilmConvert's stocks, grain, halation, and hidden Cineon negative workflow.

08.20

The small bracket on top of every camera, from a phone rig to an ARRI.

The hot shoe is where the flash goes, and the microphone, and the monitor, and whatever the next decade bolts on. Every camera has one and nobody photographs it. This magazine is named after it because that is where the whole business meets: the body, the glass, the light, the sound, and the person holding it.

I shot news in Gothenburg for nine years and documentary for hire after that, then stopped taking assignments to write about the tools. Since 2021 I live in Tokyo, ten minutes from the used-camera shops of Shinjuku, which is not an accident: Canon, Nikon, Sony, Fujifilm, Panasonic, Ricoh and Sigma make almost everything worth pointing at a subject, and their own press writes about it first, in Japanese. So this magazine reads it there, and in German, French, Italian and Spanish, and in English from the reviewers who actually put a card in the slot — around eighty sources and thirty channels, counted and plotted so you can see what is moving.

Bodies and lenses, cinema cameras and drones, film and the darkroom, firmware and the software that finishes the picture, the rumours before the launch and the reviews after it, and the photographers and shows the rest of it is for. I test what I write about on a job before a word goes down. I shoot film on Sundays and do not think that makes me interesting.

A story here is a headline, a short excerpt, one picture and the link to whoever reported it. We never reprint the article, and the picture belongs to the photographer or the maker. A story written in Japanese appears in Japanese, as its author set it down; the link goes to the original.

— Mara Lindqvist, Tokyo