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Among the technology used by creatives were the company's digital film cameras, DaVinci Resolve editing, grading, visual effects (VFX) and audio post production software
The award "recognises someone who consistently goes above and beyond the expectations of the role and shows a genuine curiosity and passion for post...
MediaConvert can generate Dolby Vision dynamic metadata for on-the-fly jobs to convert non-Dolby Vision HDR content into Dolby Vision
How colourist Dylan R Hopkin utilised Davinci Resolve to being the drama to life, including greenscreening the lead character's coat to create the right...
How the German post production facility rebuilt its colour grading workflow with DaVinci Resolve
Edison's senior colourist Carl Skaff details the work behind the scenes on the Netflix drama, and the importance of maintaining the show's look in...
Colourist Shiva Kumar details his work on Oscar contender RRR (Rise, Roar, Revolt)
How Michelle Cort, senior colourist at Outpost Facilities, created the muted colour palette for the creepy horror movie
The awards recognise the work of colourists using any technology platform while working across theatrical feature, TV series/episodic, commercial, music video and spotlight
Returning to cinemas today, the cult classic was originally shot on 35mm film. Senior colourist Jérôme Bigueur discusses the decision and challenges of remastering...
DaVinci Resolve for iPad supports H.264, H.265, ProRes and Blackmagic RAW media files
Colourist Eric Whipp discusses how using Baselight helped him create the look of the fantasy drama
The show's finishing supervisor and colourist discuss the technology behind Ms Marvel's colourful debut
From the Edge of the Clouds was shot in 1080p using Blackmagic RAW and edited and graded with DaVinci Resolve
Colour is a crucial part of documentary film My Old School, with one of the main challenges unifying its animated and live sections
TVBEurope hears from some of the judges at this year's FilmLight Colour Awards, which celebrate the work of colourists on TV and film productions
Post production house Company 3 reveals how colour played a huge role in the look of the award-winning series
Annual awards celebrate the best in colour grading across film, TV, commercials and music videos
UK's only full-service film laboratory and digital dailies facility invests further in DaVinci Resolve
Integrates colour grading and compositing for live workflows
Colourist Martin Szafranek recalls finding the Sky Deutschland series' emotional tone
Suite Post colourist Lee Clappison explains how he created the look for Steven Toast's latest outing
How colourist Dylan R Hopkin created the look of the latest TV adaptation of the classic fairytale
TVBEurope talks to cinematographer Alice Brooks about her work on new Netflix film, Tick, Tick... Boom!
Light Iron's senior colourist Sam Daley reveals how the look of the hit HBO drama is rooted in both realism and classicism
Blackmagic Design has announced the release of DaVinci Resolve 17.3, which comes with a speed increase that CEO Grant Petty hails "hard to believe"...
Senior colourist Dylan R Hopkin discusses series where every episode has its own unique colour palette
Wolfgang Lempp, CEO of FilmLight, explains the driving force and inspiration behind the launch of the new FilmLight Colour Awards 2021
Another Round picked up the Oscar for Best International Film overnight, with grading carried out on DaVinci Resolve Studio
A mockumentary shooting style and an encouragement to ad-lib has tickled the nation's funny bone enough to launch Meet the Richardsons into a second...
How ZDF drama series Ku'damm 63 was graded in both SDR and HDR
Timeline North provided both on-location edit facilities and remote post production
Colourist Jon Dobson discusses how he created both a SD and HDR version of reality TV series, The Bridge
Computer monitors with professional level performance are now available for a small fraction of the “traditional” price. We asked four freelance content creators -...
Colourist Dylan R. Hopkin takes us behind the scenes of the eight-part historical drama series.
DaVinci Resolve 17 includes HDR grading tools, redesigned primary colour controls, next-gen Fairlight audio core and support for 2,000 real-time audio tracks.
Main theatre features a 24ft cinema screen, 7.1 and 5.1 surround sound, and has room for 16 socially distant attendees.
Colourist Simone Grattarola discusses the many different looks for Billie Piper's new show.
Colourist Lee Clappison and DP Pete Rowe discuss their work on the BBC Two comedy series
Colourist Simone Grattarola discusses his work grading the BBC One series
Colourist Gary Curran talks to TVBEurope about his work on the hit BBC drama
