Online and in-person classes now available in new languages & regions

London, 7 July 2025 – Leading color grading academy International Colorist Academy (iColorist) has announced the appointment of three new instructors in 2025, expanding local classes to Sweden, Taiwan and the Philippines. Nikolai Waldman, Toni Gozum and Paul Hanrahan are the latest instructors to join the world-renowned training school, operating since 2009.

Co-founders Warren Eagles and Kevin Shaw said “We’re proud to welcome Paul, Toni and Nikolai to the iColorist roster, bringing as they do a wealth of hands-on grading experience and fresh perspectives on creativity and our craft.

“We’re delighted to be able to offer our classes in more regions and languages, as the demand for expert and efficacious training in all things post-production continues apace.”

iColorist is the world’s first independent colorist academy and is well-known throughout the industry for training hundreds of thousands of students from film school students through to directors and producers, in color science, grading, and film looks.

Nikolai Waldman, CSI, brings 35 years of industry experience in editing, VFX, color grading, technology development, and studio operations — including time as lead colorist at CAN Film — working with clients ranging from global brands to major feature film productions.

Nikolai will teach in English and Swedish, including Learning to Grade with Resolve; Intro to Editing in Resolve; Resolve for Professional Editors; Intro to DIT; DIT – Advanced Workflow and On-Set Look Management.

Paul Hanrahan has three decades’ experience as a colorist, visual effects supervisor and producer across commercials, films, documentaries, TV and music videos.

Paul will teach in-person and online classes in English and Mandarin, including What is a Colorist?; Color Grading and Look Design Masterclass; The Pros and Cons of HDR; Visual Cognition Deep Dive.

Toni Gozum has over 15 years of experience in color grading and photography. She trained in-house and is also a former iColorist student. Now a university professional lecturer and independent colorist working with the top post houses in the Philippines’ advertising and film industries.

Toni will teach in-person and online classes in English and Filipino including Learning to Grade with Resolve; Looks and Matching Masterclass and is available for customized private workshops.

Nikolai Waldman, CSI     –     Toni Gozum     –     Paul Hanrahan

What are the 3 workshops?

Monday 13^th January 2025. RG101 Learning to grade with Resolve 2 days

Wednesday 15^th January 2025. RG201 Advanced resolve Techniques 2 days

Friday 17^th January 2025. RG301 Warren’s Looks and Matching 2 days

Where is it?

Narra Post Production Studios, Quezon City, Philippines.

How much does it cost?

1 x class 23,000PHP

2 x classes 40,000PHP

3 x classes 58,000PHP

Who is this training for, what type of students?

Editors

DITs

DPs

VFX artists

Colorists

Basically anybody with a passion for color correction.

Why BYO machine?

It keeps the cost down as I don’t have to hire machines or get charged an extra rate for a conventional learning lab.

The student feels comfortable on their own machine. You download the class media, watch a pre-flight film on how to get started, then all your work over the 2 days gets stored on your own system. No need to export projects, media and relink once back at their HQ.

What will you cover in the RG101 Learning to grade with Resolve?

It is a 101 level course, so takes the student from setting up the software through to coloring a small project. The workshop is aimed at giving the student the confidence to get started with Resolve and to get an initial understanding of color theory.

What will you cover in the RG201 Advanced Resolve Techniques?

The new v19 AI tools are really cool. I’ll be showcasing those and lots of new features and the cool OFX plugins that I use. I will also dip into HDR grading and will discuss the differences between SDR and HDR grading.

What will you cover in the RG301 Looks and Matching?

My favourite class.

This is a creative more than technical class. It’s great being able to create an amazing ‘look’ but if you cannot match it to the next shot it won’t be amazing!  

I will cover the classics plus lots more

The Film Look

Bleach Bypass

Color Isolation

Film Grain

Cross Process

Students will get lots of time to match a sequence, we will then discuss as a group.

Can I take more than 1 class?

If you are looking for an intensive week of color training, then by all means yes. The classes are designed to dovetail together, so a student might do all 6 days or join for the RG201 or RG301. There are generous discounts for bundling the classes.

How do you review the student’s work?

Being in the classroom it’s easy for me to walk around to look at the student’s screen or the student calls me over to ask a question or to critique their work. I will also have an upload folder on Frame io allowing students to upload anything during the workshop or afterwards. This can also be used if you want to share ‘problem’ footage.

What are the advantages of the classroom over a ZOOM workshop?

No distractions is the main one.

Getting to hear other people’s questions is a great advantage as somebody else will always ask a ‘left field’ question that you might never have thought of.

Meeting and networking with new people with give you confidence.

Getting instant feedback on your work.

YouTube promo from Warren

Student testimonials

“I wanted to reach out and express how much I enjoyed your workshop, the content was simply fantastic!  I’ve been practicing with the valuable tips you’ve shared and I can already see improvement.” 

Juliana Pessoa.

“Warren’s RG101 class is awesome for those new to colour grading. Prior to Warren’s class I’ve never touched anything to do with colour grading – Warren showed me everything I needed to know about colour grading in general and grading in Resolve. I would 100% recommend this course to anyone keen to learn colour grading basics and/or colour grading in Resolve.”

Lincoln Knight

Tickets

Spaces are limited to 10 students and are available here

Want to register your interest now with no financial commitment 

Register now

Got questions about the class content or you don’t have access to a machine, ask me anything?

weagles@mac.com

Linkedin

https://www.linkedin.com/in/warreneagles/

Tik Tok

https://www.tiktok.com/@wozeagles

YouTube

https://www.youtube.com/channel/UCRbjmQUX4gAp3joaIeVqeHA

Facebook

https://www.facebook.com/icolorist/

The Color Grading landscape has changed a huge amount since 2006. No YouTube, no Mixing Light, the International Colorist Academy was still 3 years from formation, and the official Blackmagic Forum didn’t exist back then. Not many of my students had access to a daVinci 2k or a Resolve to practice on, so my students were mainly a mix of Apple Color/After Effects/Avid/FCP users looking for general tips. This is the story of how we got started.

Getting started

I first saw a demo of daVinci Resolve in 2005. It was a $400,000 system, the hardware rack was the size of a doorway, and it took a Resolve engineer two days to install. If a post house bought a system, then a trainer like myself would visit and conduct a 3-day session with their colorists.

In late 2005 I met with Mike Seymour and John Montgomery, who said they were opening a VFX online university. They asked me if I would like to be their professor of color. A professor! I had barely finished school, let alone gone to university. I didn’t really have any idea of the specifics or what I would even teach, but I’ve always been keen to try different things, so jumped at the chance.

Images from the 1st fxphd color course in 2006

The first class

My first classes were released in 2006: 30 minute tutorial films released every week over a 12 week term. We decided to run the first 6 classes on a daVinci 2k plus color corrector. Fxphd didn’t own one, so we had to beg, borrow and steal from post houses in Sydney. The grading rooms were over $1000 an hour back then, so we had to be in and out very quickly, sometimes only shooting 2 lessons during their downtime. Having just about used up all our favours with Australian post houses, we luckily managed to secure a demo $300,000 Resolve Linux system, meaning we could mix things up and record 6 lessons on Resolve 6.

I wasn’t a facility owner so didn’t have my own system, meaning I had to do lots of prep on paper before shooting at the post house where we had made the booking. We didn’t want to make a simple screen recording with V/O class, so we used a mix of sources, including myself addressing the camera, GUI screen and grading monitor recordings were edited to make the final vision. Fxphd have always had high production values so we always dressed the set, shared good demo material, and shot with RED cameras, making things look as good as possible.

2013

The very first class was more of an introduction, where I chatted to my DP clients about the relationship of the Colorist and the DP. I think this relaxed feel and background info on the role of the colorist, always showing ‘why’, not just ‘how’, to do something is what people liked back in 2006. That set the tone of how I have always delivered my training: talking to the camera as if the student was sitting beside me in the grading bay.

New wave

With the release of Resolve 7 in 2010 my classes moved to the ‘Fast Forward’ section of fxphd where the student could download all 10 x 30min lessons, enabling the user to work on a particular technique straight away.

I then proceeded to make a brand new series every time a new version of Resolve was released. This obviously meant the training was current but also had the advantage of us using new locations, new media to give away, and above all I had new experiences to share.

When the pandemic occurred in 2020 I thought it might be time to retire from making films, but lots of folk said: “I loved your updates each year, you need to keep going”

So in 2021 we filmed Resolve 17 in a beautiful canal front house in Noosa, Australia. I stayed in the house allowing me rehearse at night and shoot during the day.

2021 Resolve shoot in Noosa

Fast forward to 2024 and the new v19 offerings are now available. 44 dovetailed classes from total newbie to experienced user. You get the classes,

the footage used and the most importantly the confidence to start grading your own projects.

More details here >

v19 Cut n Color

Next Level Advanced Techniques

Warren’s Creative Color Workshop

Who were the students?

2 high school media students.

2 DP/Directors 

2 local social media editors

1 Junior colorist

1 Producer writer

Why a BYO machine workshop?

It keeps the cost down as I don’t have to hire machines or get charged an extra rate for a conventional learning lab. 

The student feels comfortable on their own machine. They download the class media, watch a pre-flight film on how to get started, then all their work over the 2 days gets stored on their own machine. No need to export projects, media or relink once back at their HQ.

What are the HUB facilities like?

The Peregian Digital HUB has a fantastic room called The Wonderpod Theatre. We retracted the theatre seats and brought in 8 desks. The Resolve GUI was piped to the 5 metre virtual screen. The best a GUI has ever looked and no projector shadow, meaning I could point out things on the screen.

What did you cover on the first Resolve 19 workshop?

It was a 101 level course, so took the student from setting up through to rendering and finishing their first project. The workshop was aimed at giving the student the confidence to grade a simple film using Resolve. All the new v19 AI tools and new features were showcased even if some were a little more advanced, I have never heard a student say ‘Don’t show us that cool feature!”

How do you review the student’s work?

Being in the classroom it’s easy for me to walk around to look at the student’s screen or the student calls me over to ask a question or to critique their work. I also have an upload folder on Frame io allowing students to upload anything during the workshop or afterwards.

What are the advantages of the classroom over a ZOOM workshop?

No distractions. So you will learn faster.

Lots of QnA during breaks and lunchtime.

Getting to hear other people’s questions is great as somebody else will always ask a ‘left field’ question that you might never have thought of. 

Meeting new people and networking

Getting instant feedback on your work.

Student testimonials

“I wanted to reach out and express how much I enjoyed your workshop, the content was simply fantastic! I’ve been practicing with the valuable tips you’ve shared and I can already see improvement.” 

Juliana Pessoa, Editor

“Warren’s RG101 class is awesome for those new to colour grading. Prior to Warren’s class I’ve never touched anything to do with colour grading – Warren showed me everything I needed to know about about colour grading in general and grading in Resolve. The Perigian Digital Hub’s Wonder Pod was a great space to learn in, and the massive LED wall made it super easy to see every element of Resolve’s UI. I would 100% recommend this course to anyone keen to learn colour grading basics and/or colour grading in Resolve.”

Lincoln Knight, Editor/shooter

That’s why, in 2024, Kevin Shaw is doing things a bit differently. To make it easier than ever for people to get to grips with color, he’s running a full colour curriculum from start to finish. Broken into three modules, these classes will cover everything so you can go from colour novice to colour confidence.

__________________________________

COLOR PIPELINE MENTOR PROGRAM

Over 50 hours of classes

6 months access allowance to recordings

50% discount on 1-on-1 consultations

Exercises to try between classes

Further reading suggestions

Module One: Setting The Look In Production

For: Directors, Cinematographers, DITs, Post Supervisors, VFX, Conform Artists, Assistant Colorists, Colorists and Editors

Content: Module Onestarts with the general principles of color science without getting too technical or theoretical. Kevin effortlessly collaborates with cinematographers and directors to ensure optimal capture of the intended visual mood. He serves as the bridge between the creative team and the technical crew. We discuss the psychology of seeing and the language of color. Production is the main focus of the later classes and we cover how camera settings affect the image. Then we explore how colorists and cinematographers tackle Look Management with color science, LUTs and CDLs and the importance of consistency. By the end of the module, participants should understand the factors that need to be agreed and documented in workflow documents so that the Director’s vision is achieved, editors and VFX can monitor images consistent with the intended Look,  and the delivery requirements are met.

• Class 1: The Magic of Color
• Class 2: The Defining Color Exploring color from both technical and artistic points of view
• Class 3: Managing Color Understand the differences between the appliance of science and the art of the craft
• Class 4: Setting the Look in Production Learn how cinematographers and colorists implement looks. The more you look the more you see
• Class 5: Workflow Documents How to mastermind the masterplan
• Class 6: Meeting Standards Is there anything standard about standards?

__________________________________

Module Two: Color Management And Color Grading

For: Cinematographers, DITs, Post Supervisors, VFX, Conform Artists, Assistant Colorists, Colorists and Editors

Content: Module Two is more practical and begins with setting up color grading projects ready for finishing. davinci resolve is freely available and used as the example throughout the program, but the principles apply equally to other grading software. We follow the interaction between editing, vfx and final color. We also dig deeper into the Academy Color Encoding System (ACES), other color management solutions and the fundamentals of color grading. By the end of Module Two participants have a thorough grasp of technical grading and matching and take away Kevin’s unique approach to optimising and tweaking images while remaining consistent to the vision captured in Production. The last two classes in the module cover Look Development using both inspiration and perspiration. Contrary to popular belief their is a huge difference between matching the Look of another film and developing that Look into something new that enhances your project. Kevin is unwavering in his commitment to perfection. He approaches each project with an insatiable hunger to understand the vision and painstakingly translates it into a meaningful reality.

• Class 7: Project Management Good housekeeping in the color suite, using davinci resolve as an example
• Class 8: Preparing to Finish How the plan finally comes together!
• Class 9: ACES and other Color Management Systems Flying with the ACES. Simplify the technical and focus on the creative
• Class 10: Technical Grading Primary steps to reveal the masterpiece within
• Class 11: What Makes Pictures Better? How to improve inspiration with perspiration
• Class 12: HDR and SDR The future is looking brighter but is that all there is to it?

__________________________________

Module Three: Look Development & Grading

For: Cinematographers, DITs, Assistant Colorists, Colorists and Editors wishing to further their color grading

Content: Module Three builds on the color knowledge of Module One and the fundamentals of Module Two to unleash the final color skills needed to elevate the visual impact of the footage. We subtly manipulate colors, contrast, and saturation to breathe life into the imagery, immersing the audience in captivating visual narratives. The module begins by explaining the allure of the film look and the elements that contribute to it. We continue by exploring tools that isolate and spatial tools that go beyond the realm of LUTs. The focus is always on practical applications. Kevin stays at the forefront of cutting-edge technologies and industry trends, continuously refining his craft, so the program could not end without applying the knowledge and techniques gained to the broader canvas of HDR, including the latest developments from Dolby.

• Class 13: Look Management Get your check list for matching and then developing Looks
• Class 14: The Varnish Learn tools about that are selective and put them to good use
• Class 15: Skin and Sky Refining skin, sky and other techniques that are frequently requested
• Class 16: Film Print Emulation (FPE) The Look of film is still a major influence. See how digital processing can be more like film than film
• Class 17: HDR Grading Boldly explore the new frontiers
• Class 18: Dolby Vision Learn the wonders of Dolby Vision

Pricing

• SINGLE £360
• ALL MODULES £900

For more info, see finalcolor.com or the iColorist class calendar >

__________________________________