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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...
New branch members include chief technology officers, senior department heads in technology and creative services, colourists and preservation and restoration specialists
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...
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)
The awards recognise the work of colourists using any technology platform while working across theatrical feature, TV series/episodic, commercial, music video and spotlight
How colourist Dylan R Hopkin created the look of the latest TV adaptation of the classic fairytale
Sam Chynoweth joins Technicolor's features team
TVBEurope talks to Ronney Afortu, whose credits include Golden Globe winner In The Fade
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
Blackmagic’s DaVinci Resolve was used at Deluxe Creative Services' Company 3 by colourist Stephen Nakamura to grade 20th Century Fox’s Exodus: Gods and Kings,...
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The Equalizer, the new thriller starring Denzel Washington, was graded on Baselight EIGHT at Colorworks, the finishing facility on the Sony Pictures lot at...
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Brazil’s O2 Post is installing 80 DaVinci Resolve licenses and three DaVinci Resolves, forming one of the largest DaVinci Resolve workflows in the world.
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Madrid-based SGO has launched a new office in France which will open its doors next month
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Dublin-based post house Windmill Lane has upgraded its colour grading department with a new FilmLight infrastructure.
The Warner Bros MPI team, with colourist Maxine Gervais chose Baselight colour suite for dailies and DI, for the film adaptation of Jersey Boys.
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...