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Taking a Colourist’s Journey from Camera to Post

Ana María Ormaza talks about colour and instinct, storytelling and finding a creative home at WeMakeColor studio in Mexico City, continuously discovering colour and collaboration on Baselight.

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Taking a Colourist’s Journey from Camera to Post

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TREE Digital Studio Expands its Colour Workflow with Baselight M

TREE has become a primary post and colour grading facility in Japan, evolving over 20 years through strategic partnerships, the expansion of its grading suites and, most recently, the introduction of Baselight M.

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MPC and The Mill to Collaborate as One Brand Supporting Creative Production

MPC and The Mill divisions are joining forces to create a unified global creative studio operating under The Mill brand with infrastructure to deliver across platforms and markets.

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AJA KONA IP25 Integrates with Colorfront Software for Faster, Simpler Workflows

Post teams using AJA's KONA IP25 and Colorfront software can now access ST 2110’s greater throughput to accelerate and simplify local and remote dailies, transcoding and streaming.

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Cem Ozkilicci Puts FilmLight’s Baselight v7 to the Test

Independent colourist Cem Ozkilicci took part in FilmLight’s Baselight v7 beta, putting new features like Transform Matching, Depth Keyer and Segment Anything through real‑world tasks.

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Studio Hamburg Builds a New ‘Red Roses’ Post Pipeline on DaVinci Resolve

Studio Hamburg has now moved its picture and audio post production pipeline in-house, using DaVinci Resolve Studio to replace legacy tools and outsourced services with a unified workflow.

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Blackmagic Cintel Rediscovers Looks and Stories in Classic Films at Anónima Post

Anónima Post uses a Cintel Film scanner and DaVinci Resolve Studio to design and manage the complex workflows their team uses to restore films more than 50 years old.

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WeMakeColor Becomes Hybrid Baselight and DaVinci Resolve Grading Facility

Colour grading studio WeMakeColor in Mexico integrated Baselight alongside DaVinci Resolve, allowing the team to customise its approach to creative and technical demands of each project.

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EIZO’s 31.5-inch 4K Monitor Supports Consistent, Precise Colour Workflows

The new EIZO CS3200X combines capabilities for diverse workflows, supporting videographers, photographers, designers and other visual storytellers who rely on accurate, predictable colour.

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Colorfront Builds On AI/Automation Tools, Dolby and Apple Collaborations

Colorfront introduces new AI, automation and usability features into Transkoder 2026 mastering and transcoding software, and extends Dolby Vision and Apple Immersive workflows

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DaVinci Resolve Studio Gives a Polished Colour Grade to Sci-Fi Thriller Kraken

Colourist Dylan Hopkin talks about using DaVinci Resolve Studio’s VFX, HDR and AI-driven tools to balance human drama with creature horror in the Norwegian sci-fi thriller ‘Kraken’.

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Vicki Matich on Colour Grading for Authenticity in TV and Film

A colourist of 20 years, Vicki Matich sees many trends influencing looks in film and TV. Today, she says, filmmakers favour subdued, restrained colour grading over bold, overtly stylised looks

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Park Jin-ho Pulls a Story from Colour and Contrast in 'No Other Choice'

Park Jin-ho talks about grading No Other Choice on Baselight with the director and DP, who wanted to convey the story and emotions not only through images, but by using colour itself.