A big thank you to everyone. Very interesting answers. As we still have a good 10 days before shooting, we decided to test a few this coming week from various upload locations. Cheers, Manny Emmanuel

Greetings, What is currently a good and cost-effective way for transferring large files ( circa 100GB/200GB) per day. A European solution would be more practical, as based in Germany. Thanks beforehan

Dear VFX gurus. So I’ve been playing with the C300-3 and wanted to put RAW lite to the test. To that end I shot a chromakey with the C300mk3 in RAW, the FX9 in XAVC300 and F55 is class 480 and 300. I

Hi there, With the recent downtime from work I have been taking the opportunity to read up on new technology, specifically ACES. I recently watched the ACES for cinematographer’s online zoom talk. As

Hi all, I've read on a blog another article from an industry player about LUTs and Transforms on the internet earlier today: there are quite a lot on the web that are often between "lacking precision"

Hello everyone! I have a few questions about how to create a show LUT and how the test footage should look like. 1. What is important when creating test footage for a show LUT? Different Color Charts?

This is the topic that got the most votes on the CML poll, 36% of voters wanted this. This will be a non-colour science discussion about the advantages, and the disadvantages, of an ACES workflow. Eve

Ed Moore BSC, Geoff Boyle NSC and Misson’s Head of Colour Pablo Garcia will present a seminar explaining how ACES can help cinematographers ensure creative intent preservation for the future and commu

I’ve been doing some research online, but I can’t find what the history of Digital Green (and Blue) is for screens and what their technical parameters are compared to the older Chroma Green (and Blue)

Hello everyone, I’ve been playing around with ProRes Raw in the new Beta of Adobe Premiere and I’m struggling to work out a reliable colour workflow. The issue is that Premiere seems to debayer the fi

Jim Bracher, Senior Colourist at Youngster in London, is joined by VFX Artist Robin McGloin to showcase their collaboration on recent projects. https://vimeo.com/391271883 Daphné P. FilmLight

Hi, Are there tests or white pages showing the dynamic range of current distribution channels after compression, uploading? Excluding (or distinguishing) HDR, what is the dynamic range of Netflix, Ama

Rejoignez nous le 28 Janvier à partir de 14h pour des sessions dédiées à tous les créatifs et techniciens en production et post-production ; et en soirée autour d’un cocktail dinatoire au ‘Nord Marais

Improving production processes and enhancing pictures with efficient renderless workflows, with Colourist Stephen Edwards, Finishing Editor Tom Chittenden and Head of Post Production David Williams':

With a live presentation on stage from FilmLight Colourist and Workflow Specialist, Andy Minuth, you can explore some of the next-generation tools in Baselight v5 for colour grading and spatial shapin

Meet with French Digital Imaging Technician Karine Feuillard ADIT, who worked on the latest Luc Besson film ‘Anna’ as well as the TV series ‘The Marvelous Mrs Maisel’, and FilmLight Workflow Specialis

Coding of sensory information changes depending on the stimulation and the environment. Visual adaptation is a highly dynamic process, and we are continuously adapting to the current viewing context.

With Martin Tlaskal, FilmLight. In this final segment, explore the new input versioning feature in Baselight. Input versioning – either via filenames or making use of the Open Clip XML format – means

With Martin Tlaskal, FilmLight. In this segment, find out more about the timeline improvements in Baselight. Baselight’s enhanced timeline features collapsing stacks and multiple tracks : https://vime

Colour on Stage: Eric Weidt Creating the unique look for ’Mindhunter’ In this video, Eric Weidt talks about his collaboration with director David Fincher – from defining the workflow to creating the l