Conrad Hall once said: “My peers have said I have made a difference. That means more to me than winning an Oscar.” No one has made a greater difference to his peers than Geoff Boyle. Thank you, Geoff.

Thank you Geoff. I was introduced to CML by Ariel Wollinger when I asked him in 2006 how he had so much information about digital intermediate. I never write around here but still reading everyday and

I hope my cardiologist will let me move my long-scheduled stress test so I can be there… if I can figure out Zoom. (Me, I’d have used Prime…) Jeff “be there or else” Kreines Jeff Kreines Kinetta jeff@

CML Zoom on Wednesday 7th July. https://zoom.us/j/94426303343 9am LA, Noon New York, 5pm London, 6pm Amsterdam, 9:30pm in Mumbai Geoff Boyle says farewell after nearly 25 years of running CML. CML has

Has anyone by any chance got a BenQ SW2700PT? Im having some weird issues with the calibration settings. Michael. Michael Sanders: London based Cinematographer/Director of Photography. reel/credits/ki

Eric Wenocur observes: “I have found that certain ‘broadcast’ displays look a bit green to me, and when I ask around I find that other people have different experiences. A couple people on the CML cha

FilmLight, in cooperation with an assortment of industry groups, is organizing the Colour Awards (https://filmlight.awardcore.com) to celebrate the collaboration of Cinematographers and Colourists. As

Often, when desqueezing anamorphic footage, it’s desirable to use a slightly different desqueeze setting than the nominal value. For example, for a scene shot with a 1.33x lens, you might use a 1.28x

Hi- I'm researching how to solve a post problem for a producer pal. He needs to transfer SD video files off of avid Media Dock LVD SCSI drives. He still has the avid from 2002 that was used to edit, b

Hi all, I'm prepping for a TV show shooting ProRes 4444 on the Alexa Mini LF in 4.5K Open Gate. We're looking to set framelines which crop the Open Gate by around 5% so that the operators have a bit o

I'm running into a problem with negative pixel values in DaVinci when using ACES. From what I've found online, because ACES uses floating points for their values, it's quite possible to have negative

I am using the Sony Venice, and production want to only shoot ProRes 4444 1080. Some of the locations would suit being full frame, so I tested shooting some of the wides at 5.7k to open up the sensor,

Hi folks Looking to bone up a bit on Unreal in a shooting environment using both LED walls and also greenscreen although I think LED walls seem to be a better solution in some ways. Habe a possible sh

Bonjour Does anyone have any experience trying to key off of a white wall lit by a narrow band green (or blue) LED source? From what I've always believed, you need to have a proper green surface (pain

Snobbery, are we far to fast to dismiss new technologies? I’ve been reading threads on FB about how awful AF is and how “real” colorists don’t use LUTs and and and... I use AF, I use AE, I use FilmCon

I wonder if anyone else is finding this. Resolve 17 suddenly got very slow, painfully so and that’s a problem as I’m using it for a live demo tonight. Yesterday I tried everything I want to do and as

Don’t miss this! 24 hours of great stuff, I’ll join halfway through because the start is past my bedtime 😊 https://coloristmixer.com/?fbclid=IwAR2a47WTNCT6vBYIUoCb9HjbkdORHa6DRdciwZ-0fGc0fixFtBV9Up4jH

Hi I was uploading a grid test the other day for some of our lenses, and it occured to me its such a waste of time for every crew to do it. I was wondering if we should have it made for all lenses onc

I posted recently about CineMatch and whilst it’s not the same as having an ace colourist to work with it’s better than most DP’s fumbling in the dark! There’s currently a 40% discount available. http

CineMatch, which I have been beta testing for months, has now been release at https://www.cinematch.com/ I know that most of you will dismiss this but it really does work, maybe not as well as another