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

Can anyone suggest why a clip viewed in Resolve, monitoring via BM Ultra Studio looks different when viewed in FCP X? Colour management setting of Resolve attached. Thanks. Michael Sanders Cinematogra

I have been doing webinars for a small group of around 350 pro colorists from around the world as a way to expand on the classes I teach. I thought that this might be interesting to you as it is a ver

Hi There I have a shoot coming up in London, England in couple of weeks and have been asked to recommend a colorist at the Mill i like. I know Alex Gregory's work and like it a lot but if he's not ava

Hi all. I took a couple of stills on my A7sII in RAW at a location today and was going to grade them roughly in Lightroom. Just to give the client a rough idea of what the look they are asking for wil

Some one started a talk about grey screen instead green. Last year a director call me to do this job not using green screen. He said post guys will prefer not to use green. They are working with difer

Hi Guys, I’ve been working with Super 16mm film a little bit recently and as someone who was not around whilst it was in high rotation I’ve had to learn a lot of the processes in preparation for these

Filmmaking is a team sport and communication is everything, yet departments within post tend to exist in “silos” with little effort spent or time permitted to understand the needs of others downstream

Monday: 10:00 AM - 11:30 AM Room N243 - April 8 (North Hall) The Open Effects Standard is widely used for visual effects (VFX) and video processing systems. OpenFX provides specifications to connect v

For those interested in learning more about virtual production for features and TV in an informal setting, check out this Birds of a Feather meeting at NAB: "Revolutionizing Filmmaking with Real-time