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

With Martin Tlaskal, FilmLight. In this segment, find out more about the FilmLight API, the new programming interface to the Baselight colour grading platform and Daylight, FilmLight’s dailies managem

This is a fun six minutes, and makes me want to watch it again (virtual split-diopters, etc): The Real Fake Cameras Of Toy Story 4 I've let this through but unsigned messages are generally rejected Si

Absolutely terrific podcast with Warren Eagles interviewing Marc Wielage. https://icolorist.com/2019/10/23/color-tour-podcast-episode-12-marc-wielage-hollywood-usa/?fbclid=IwAR1FOBnclzDH1ngJYrOU2X_jlk

Sunday, 9/15 at 10.30am- 11:20am An Inside Look into Mindhunter Season 2, presented by Dolby Join Director of Photography Erik Messerschmidt and Colorist Eric Weidt as they discuss the pre-production,

The free 'Colour On Stage' seminar hosted by FilmLight will include two days of live presentations that look at the interaction between colorists, directors, DPs and DITs. To view the programme and re

Sending gigantic files is a routine industry need - whether it's dailies, edits, or distribution masters. There are numerous online services to host, secure, or manage your files - DropBox, Google Dri

If you’re going to IBC then this could well be of interest, it was really good last year. https://www.filmlight.ltd.uk/store/events/pre-register-for-colour-on-stage-at-ibc2019/– cheers Geoff Boyle NSC

The beautiful thing about ACES is not just that it means your decisions in post get translated to screen properly, but also that you know everything looks the same and gets treated the same irregardle

Mae Manning, Editor, is looking for a film splicer. If you can help, contact her at editingmae@... Martyn J Bull Filmmaker Oxfordshire, UK At 16 I was a projectionist. That job sparked the 🔥 of my bur

We are set to work with a pregnant cast member so no haze / atmosphere in a couple of sets we usually soften that way. Tested some smoque filters which were ok. I’m interested in testing VFX plugins t

Dear Colorists, Dear Cinematographers, The expansion of the dynamic range of digital images has now found its way into the consumer market. The industry is promoting HDR (High Dynamic Range) as a way

Yes I know Geoff..... NO PC vs MAC discussion but here is some real info.. NOT just speculation... a really interesting read https://www.digitaltrends.com/computing/how-much-mac-pro-cost-as-pc/ Regard

We’re exploring utilizing lens & camera metadata, but Post is working on moving those fields over to the Avid files during the transcode. Sadly a transcode cannot yet be avoided even if it seems a lit

Finally... meaningful post-production news from Cupertino! Apple shockingly chose to reveal its new pro hardware not at Cinegear..... but at WWDC in San Jose. You can read about the basics all over th