Submissions opening for 2025 FilmLight Colour Awards
The awards recognise the achievements of colourists working on projects around the world
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The awards recognise the achievements of colourists working on projects around the world
Now in its 19th season, BBC One’s The Apprentice continues to innovate in terms of its look. Colourist Andrew Cloke tells TVBEurope's Jenny Priestley...
Explaining the process to TVBEurope, Del Bravo said the film's look was inspired by the Technicolor ‘three-strip’ process, evoking the rich colours of early...
TVBEurope investigates the work of colourist Dan Coles on the latest season of the BBC's crime series
Ahead of this year's FilmLight Colour Awards, jury member Jax Harney, founder and senior colourist at X-LDN speaks to TVBEurope about the colourist's role...
Colourist Eric Whipp discusses the challenges of creating the look for George Miller's epic blockbuster
Colourists can copy corrections and enhancements made in Face Track to the entire timeline
Colourist Raúl Lavado explains how he created emotions with colour for Spain's first original Disney Plus series
Colourist Shiva Kumar details his work on Oscar contender RRR (Rise, Roar, Revolt)
Colourist Eric Whipp discusses how using Baselight helped him create the look of the fantasy drama
Boutique post production house has also upgraded its Baselight capabilities to 4K
Director Anastasia Mikova and colourist Stéphane Azouze recall shooting and grading a powerful documentary
How are Youngster's colourists and creative artists using FilmLight’s Baselight to colour grade content?
Takes a look at all things production from colour grading to VFX and sound to virtual studios
FilmLight will be showing the new features of Baselight v5 for Avid and NUKE, along with BLG for Flame, the latest product in the...
TVBEurope talks to Ronney Afortu, whose credits include Golden Globe winner In The Fade
Expansion increases artist capacity to 250 and includes two 4K Baselight screening rooms
Technicolor colourist Maxine Gervais discusses her work on Marvel Studios' epic blockbuster
Asa Shoul, senior colourist, Molinare TV & Film, talks stylistic differences, natural light and beautiful grading
Technicolor has extended its colour grading capabilities in Hollywood with FilmLight’s Baselight X system
The pair offer six different kits incorporating Black Box’s digital KVM extension solution
Sky has installed two Baselight Two 4K colour-grading systems at its headquarters in west London. Each system has a Blackboard 2 control surface and...
London creative post house LipSync Post has opened its third grading suite, incorporating a Baselight grading system and Blackboard control panel from FilmLight.
NewsDolby Vision, a complement to both HD and 4K, is a new imaging technology that helps content creators and television manufacturers deliver a dramatically...
NewsThe Equalizer, the new thriller starring Denzel Washington, was graded on Baselight EIGHT at Colorworks, the finishing facility on the Sony Pictures lot at...
NewsDublin-based post house Windmill Lane has upgraded its colour grading department with a new FilmLight infrastructure.
The second season of House of Cards, the political drama from Netflix, was released on 14 February 2014. For the first time, 4K and...
The Warner Bros MPI team, with colourist Maxine Gervais chose Baselight colour suite for dailies and DI, for the film adaptation of Jersey Boys.
The second series of Netflix House of Cards, had its 4K post production managed by Deluxe.
Soho-based post production house Platform Post has opened its first grading suite incorporating a Baselight ONE grading system, Blackboard control panel and Baselight for...