Case study: How Option Media elevated its audio and colour post production capabilities
Integrated audio and picture post workflows within DaVinci Resolve Studio deliver significant cost and time saving benefits for Belgium-based Option Media
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Integrated audio and picture post workflows within DaVinci Resolve Studio deliver significant cost and time saving benefits for Belgium-based Option Media
TVBEurope talks to the production team behind Channel 4's "social experiment" to find out how they enabled viewers to look over the shoulders of...
Colourist Felix Hüsken discusses the 4K/HDR image workflows for the Paramount+ drama series
The UK-based post production house worked closely with director Jonathan Glazer on the grade of the BAFTA and Oscar-nominated film
Colourist Simone Grattarola talks to TVBEurope about the process and challenges of grading Netflix's The Kitchen, and the differences between working on an HDR...
The SCENESIS Pictures office includes a CG / VFX open plan area, grading suites, flexi suite, and viewing area
Stan Cassio, president at post production services company Mango/NewEdit, explains how it uses Signiant Media Shuttle's fast file transfer service to save time and...
Colourists can copy corrections and enhancements made in Face Track to the entire timeline
The 2023 FilmLight Colour Award winners were announced by jury president Lawrence Sher, ASC, at a ceremony during EnergaCAMERIMAGE in Poland yesterday
The suite, which was built by systems integrator Big Pic Media, includes an Advanced DaVinci Resolve suite and offers full support for high-end 2K...
"Our jury meetings so far have illuminated how fundamental the colourists’ work is in the film-making process," said jury president Lawrence Sher
Laura Hewett, colourist and on-line editor, Bumblebee – part of Zinc Media Group, tells TVBEurope how curiosity about film and television led to a...
Renowned cinematographer Tristan Nyby tells Robert Shepherd about his approach to lighting and capturing the highly anticipated horror sequel, The Nun II
Sky Sports' new advertising campaign turns some of the biggest names in sport into circus performers. TVBEurope speaks to the team at Framestore to...
Chair of this year's FilmLight Colour Awards Lawrence Sher talks about his working relationship with colour and colourists
The annual FilmLight Colour Awards are open to colourists on any grading platform and entries are judged by an independent panel of cinematographers, colourists...
The £10 ticket to sunny Australia was a no-brainer for people looking to escape the post-war gloom and grey skies of Great Britain. However,...
Colourist Raúl Lavado explains how he created emotions with colour for Spain's first original Disney Plus series
The transformations are part of the company's commitment to provide filmmakers globally with first-in-class technology
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