Color Accelerator
Move from guessing to understanding. Eight live sessions connect the image you see, the camera that recorded it, and the decisions you make in DaVinci Resolve.
COLOR ACCELERATOR / THE CONNECTIONS
Select a stage. See how one decision prepares the next.
The question behind the tool
Exposure, dynamic range, middle grey, RAW and Log. Connect the choices made on set with what you can change in the grade.
Read the scopes alongside the image and discuss where important detail is being held or lost.
The question behind the tool
Color spaces, monitoring, color management and conform. Give the material a dependable starting point before shaping its character.
Follow footage from the edit into Resolve, check the conform, and compare a consistent setup across camera sources.
The question behind the tool
Contrast, color, references and shot matching. Use nodes, curves, keys and windows with a clear visual reason.
Break down a reference, discuss a grade, and look at how one decision carries through a sequence.
The question behind the tool
Masters, versions, delivery and archiving. Keep the creative intention connected to the final viewing environment.
Trace the route from the grading timeline to an agreed master and the versions a project needs.
This is a map of the ideas we connect, rather than a fixed lesson-by-lesson timetable.
THE CURRICULUM
Open a topic to see what we explore.
How we perceive brightness and color; why displays differ; what calibration is for.
Exposure, ISO, dynamic range, middle grey, RAW, Log, LUTs, codecs and scopes.
Project setup, media organization, metadata and bringing an edit across from another application.
Check the conform: framing, retimes, transitions, source media and the approved reference.
Primary controls, node logic, curves, keys, windows and tracking. Correction and creative grading work together.
References, contrast, saturation and shot matching; working with different cameras in one sequence.
Color management and ACES, handling versions, client communication and useful feedback.
Relevant AI-assisted tools in Resolve: where they help, what to check, and when a manual decision is better.
Prepare masters and versions for the agreed destination: online, broadcast or theatrical delivery.
Delivery checks, archiving and a practical resource collection for continued study.
INSIDE THE TEACHING
A few views from my current presentation, covering the theoretical side of the course. The original slides are in Hungarian; open any image to explore it at full size.
01
How perception, color mixing and color spaces connect.
02
From middle gray and Log to the detail a camera can retain.
03
RAW, sampling, compression and the choices stored in an image.
04
The same shape can suggest a different story when its color changes. Examples: Stephen Wildish.
05
Creative judgement, shared language and the work beyond the controls.
Yes. The demonstrations use DaVinci Resolve, while the ideas about exposure, color and preparation apply beyond one application. Editors, cinematographers, directors and filmmakers are all part of the intended audience.
A laptop is welcome, but it is not the focus of every discussion. Bring specific questions and footage you have permission to share. Observing and understanding a decision is just as valuable as following the controls.
You can attend live from the studio or online. Online participants can choose between camera views. The published format does not include recordings or later replay.
Email me with your experience and preferred attendance format. The published tuition is HUF 189,000 net per person. Available places, invoicing and the final terms are confirmed directly before booking.
For editors, cinematographers, directors and filmmakers who want to understand color more clearly. We use Resolve to connect technical knowledge with decisions you can see in an image.
Bring questions, references and footage you are allowed to share. The group gives us different ways of seeing the same problem; the aim is to understand why a decision works.
The published resource collection includes my workflow and node structure, practical grading materials, and approximately 250 GB of practice footage from different cameras.
References, project preparation and communication belong to the course too. They help you ask better questions before you reach for another control.
Eight live sessions, 24 scheduled hours. All times are local to Budapest. Tuesday and Thursday evenings, 3–26 November 2026.
Budapest. Connected to wherever you are.
Join the November group