Conductor Enterprise Automates Render Scheduling and Monitoring
Conductor Enterprise adds virtual render wrangling and and reactive user management controls, custom encryption capabilities and bring-your-own license (BYOL) support.
Post Production News
July 22, 2022
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Digital Orchard Welcomes New Colourist Jo Barker
Film and digital services company Digital Orchard will be joined by colourist Jo Barker, expanding its existing picture-post, in-house grading team.
July 20, 2022
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ArsenalFX Color Promotes Joshua Baca to CTO
ArsenalFX Color announced that Joshua Baca, a company co-founder and partner, is taking on the role of CTO to oversee an expansion of remote services and other emerging technologies.
July 16, 2022
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Harbor’s Colourists Pump Up the Grade for ‘Super Pumped’ on Baselight
Co-working colourists at Harbor in London shared ideas and skills on Baselight to develop a contemporary look for this super modern story, just as the showrunners envisioned it.
July 12, 2022
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FilmLight Colour Awards 2022 Celebrates the Art of Colour Grading
The FilmLight Colour Awards celebrates the art of colour around the world, reflecting the cultural, visual and technical values of the international colour grading community of today.
July 05, 2022
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Light Iron Strengthens its Management Team with Two New Hires
Andy Kaplan joins as Senior Vice President of Operations, Peter Lin as Director of Finance at Light Iron post-production creative services.
June 18, 2022
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DNEG to Launch xSTUDIO as Open Source Playback and Review Application
DNEG is planning the upcoming launch of xSTUDIO, a flexible playback and review application designed to serve content creators throughout the production process.
June 18, 2022
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Streambox and Blackmagic Integrate for Remote Post Workflows in the Cloud
Streambox software works with Blackmagic UltraStudio and DeckLink devices and DaVinci Resolve Studio to create custom post production and monitoring workflows based in the cloud.
June 09, 2022
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Colorfront Express Dailies 2022 Supports New ACES AMF Workflows
At Cine Gear Expo 2022, Colorfront shows Express Dailies 2022, ready to adapt to new set-to-post workflows with the ACES Metadata File that improves integrity in ACES viewing pipelines.
June 09, 2022
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DaVinci Resolve Brings Expressive Looks to Oscar winner ‘Drive My Car’
Colourist Yumeto Kitayama used DaVinci Resolve Studio to prepare working LUTs for the film, and then to create temperature and atmosphere in each of the story’s three locations in post.
May 24, 2022
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DaVinci Resolve Studio Handles Grade, Online, Conform for 'Writing With Fire'
Bridge PostWorks handled post for Oscar-nominated documentary ‘Writing With Fire’, relying on Resolve Studio’s tools for colour, plus editing and delivery to manage the complex conform.
May 21, 2022
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MTI Film Develops AI-Assisted Frame-Rate Conversion, Camera Motion Analysis
MTI developed an AI-assisted tool for frame-rate conversion for Cortex and camera motion analysis in DRS Nova, efficiently handling common issues in post-production and restoration.
May 16, 2022
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The Finish Line Adds Colour and Emotion to Worldwide Motorcycle Treks
The team at The Finish Line talk about working with video, captured around the world on myriad cameras, in DaVinci Resolve using tools from Colour Management to Fusion to lighting FX.
Charles Bunnag Brings a Fresh Approach to Colour at Light Iron
May 14, 2022
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Colourist Charles Bunnag talks about his experiences of moving from the world of VFX, to…
The Hardy Boys S2 Gets a New Look on Mistika at Eggplant Picture & Sound
May 10, 2022
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The finishing team at Eggplant Picture & Sound in Toronto handled the conform, VFX pulls,…
Colorfront Dailies and Transkoder Gain ACES, Dolby, Apple M1, Frame.io Support
May 09, 2022
851
Colorfront’s dailies and transcoding systems are updated with colour pipeline…
SMPTE’s New IMF App for Broadcast Will Soon Join IMF Family
May 06, 2022
741
SMPTE developed an IMF App specifically for the many broadcasters using AVC compression,…
'Everest' Returns to Large-Screen Cinemas in a New 16K Restoration
May 04, 2022
1440
MacGillivrary Freeman Films completed a 16K restoration of classic large-screen…
FilmLight’s Colour Awards Return for 2022
May 03, 2022
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Nominations are now invited for the FilmLight Colour Awards 2022, to be presented at…
Colorfront Upgrades Colour-Accurate Live-Streaming for Remote Post
May 02, 2022
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At NAB 2022, Colorfront showed updates to their live-streaming systems supporting remote…
Interra Makes BATON Captions Available As SaaS on Interra Cloud Services
Apr 25, 2022
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SaaS-based BATON Captions enables captions management in the cloud, increased efficiency…
DaVinci Resolve 18 Hosts Projects in the Cloud, Adds Proxy Workflow
Apr 21, 2022
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Blackmagic DaVinci Resolve 18 has cloud support for remote collaboration, a native proxy…
Autodesk’s Flame and Maya Help Post and VFX Teams Make the Leap to Virtual
Apr 18, 2022
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Autodesk’s software is now in use in virtual workflows on AWS Cloud, including Flame…
DaVinci Resolve Studio Gives 'On My Mind’ a Look to Earn Oscar Nomination
Apr 18, 2022
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Short film 'On My Mind’ was limited by COVID, budget and time, but editor Thomas Engell’s…
Adobe Launches Frame.io for Creative Cloud; Updates After Effects, Premiere Pro
Apr 18, 2022
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Adobe has integrated Frame.io’s video collaboration tools into Creative Cloud, and…
The Fuse Group Announces New CEO Sébastien Bergeron
Mar 28, 2022
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Sébastien Bergeron will become next CEO of the Fuse Group, succeeding David Altenau,…
Marquise Technologies is First to Add SMPTE VC-6 to Post Workflows
Mar 28, 2022
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Marquise integrated V-Nova’s VC-6 compression into its post software, increasing the…
Fuji TV’s Drama Series Solves Mysteries on Tight Deadlines on DaVinci Resolve
Mar 21, 2022
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Colourist Tomoyuki Abe uses DaVinci Resolve Studio to grade Fuji TV’s top drama ‘Don't…
Colourist Mark Gethin Takes the Look Cross-Country for ‘C’mon C’mon’
Mar 14, 2022
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Colourist and Creative Director at The Mill, Mark Gethin, talks about grading this black…
Creative Director John Koltai Joins Nice Shoes
Mar 07, 2022
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Known for his work on Marvel titles and in future user interfaces and other futuristic…
DAMsmart Launches Media Digitisation Services in AWS Marketplace
Mar 07, 2022
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DAMsmart, a dedicated audio-visual digitisation services facility, has launched its Film…
Light Iron Promotes Ethan Schwartz to Senior Colourist
Feb 28, 2022
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Ethan Schwartz is now Senior Colourist, alongside further moves and promotions for Light…
Colorfront Paves the Way for Remote, Colour-Accurate 4K HDR Post
Feb 24, 2022
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Colorfront’s Streaming Server and Streaming Player now support end-to-end review of…
DAMsmart Digitises New Zealand’s Sports Archives at Sky NZ
Feb 12, 2022
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Sky TV in New Zealand digitised over 23,000 hours of sports footage from its 30-year…
Hedge Simplifies Metadata, LTO Archive and RAW Conversion for Editors
Feb 07, 2022
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Hedge editing software developers now deliver customisable metadata elements, support for…
Storytelling in Light and Shade for ‘The Tragedy of Macbeth’
Feb 06, 2022
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Supervising Colourist Peter Doyle talks about working through the very technical,…
Senior Colourist Lucie Barbier-Dearnley Heads to Picture Shop London
Feb 03, 2022
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Colourist Lucie Barbier-Dearnley has recently moved from Picture Shop New York to join…
Avid NEXIS | EDGE Adds Remote Workflows for Post Teams Anywhere
Feb 03, 2022
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Avid’s new NEXIS | EDGE software option supports post teams who need to work from any…
DaVinci Resolve Studio Keeps the Story Together on ‘Red Notice’
Jan 24, 2022
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Shooting a film with an international storyline under pandemic restrictions created…
Leader LV5600 Reference Leads Film and TV Colour Management at Cromorama
Jan 24, 2022
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Cromorama adopted Leader’s LV5600 reference instrument for precise simultaneous HDR and…
Picture Shop to Open New Dailies Facility at Pinewood Studios
Jan 17, 2022
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Picture Shop will open a new dailies facility at Pinewood with four grading rooms,…
Leader's Video Monitoring Blooms in 2021 for Broadcast and Digital Film
Jan 10, 2022
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As digital film and TV producers spent 2021 producing quantities of high quality video,…
Light Iron Looks Ahead with New Post Services, Workflows and Staff
Dec 27, 2021
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Cofounder Katie Fellion, now a Senior VP, talks about what it takes to keep Light Iron at…
Sohonet’s New Multiport Supports Flexible Bandwidth Scaling
Dec 06, 2021
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Sohonet Multiport is a new flexible, scalable network access service that combines the…
Pomfort Livegrade Studio Integrates with FilmLight’s BLG Colour Workflow
Nov 29, 2021
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FilmLight and Pomfort created a bridge between production and post via an integration and…
FilmLight Announces Winners of First Colour Awards
Nov 22, 2021
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The winners of the first FilmLight Colour Awards were announced at a special ceremony as…
Interra’s QC and Monitoring Software Now Available on Google Cloud
Nov 15, 2021
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Interra has joined the Google Cloud Partner Advantage Program and made their QC and…
The Rebel Fleet Names Stephen Ceci Managing Director in Australia
Nov 15, 2021
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The Rebel Fleet, a media and entertainment production workflow developer, has appointed…
Filmhouse Upgrades to New R&S CLIPSTER for 2021 Edinburgh Film Festival
Nov 08, 2021
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Edinburgh International Film Festival host Filmhouse upgraded their R&S CLIPSTER…
Arcadian Designs 4K Streaming Content Workflows on MTI Cortex
Nov 05, 2021
2935
Arcadian’s expertise in transcoding and IMF packaging, handled with MTI Film Cortex,…
DaVinci Resolve 17.4 Gets Apple M1 Acceleration, Automates Colour Management
Oct 25, 2021
3496
Blackmagic Design’s version 17.4 of DaVinci Resolve accelerates the software’s…
Autodesk Flame Speeds up 4K/UHD, Conform and HDR Workflows
Oct 15, 2021
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Autodesk’s new updates to Flame, Flare and Flame Assist address workflows that help…
DaVinci Resolve Captures a ‘Streetwise’ Look at Life in Modern China
Oct 04, 2021
3178
Chinese feature film ‘Streetwise’ (‘Gaey Wa’r’) is set within the period of population…
ShotGrid Helps VFX Studios to Dynamically Scale and Allocate Resources
Oct 04, 2021
3623
Autodesk ShotGrid production management software now has new Resource Planning views to…
MTI Film DRS NOVA v5 Automates and Accelerates Digital Film Restoration
Oct 04, 2021
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DRS NOVA v5 is the most recent version of MTI Film’s digital restoration software. This…
Company 3 London Hires Colourist Jean-Clément Soret and EP Ellora Soret
Sep 22, 2021
3445
Company 3 has hired Colourist Jean-Clément Soret, formerly Global Creative Director of…
DaVinci Resolve Fairlight Designs Audio Post on Racing TV Series
Sep 20, 2021
2860
An upcoming four-part TV documentary series titled ‘Magnificent Madness’ covers the life…
M2A Media and InSync Launch First Cloud-Based Live Frame Rate Converter
Sep 14, 2021
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M2A Media, specialising in software-defined broadcast systems, is collaborating with…
DaVinci Resolve Tells The Protégé’s Story in Colour and Light
Aug 30, 2021
3099
Nu Boyana Post used a DaVinci Resolve Studio colour pipeline to complete the colour…
Cinematographers and Colourists Support FilmLight Colour Awards
Aug 23, 2021
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Nicola Daley, Australian cinematographer FilmLight recently launched a new event, the…
ftrack Integrates cineSync Play for Hi-res Sequence Review
Aug 11, 2021
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ftrack's new cineSync Play is an integrated desktop media player for locally reviewing…
DPP and SMPTE Publish Major Updates to IMF Documentation
Aug 09, 2021
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The DPP and SMPTE collaborated on two new Documents for the IMF, aiming to increase…
Baselight Colourist Gareth Spensley at Co3 Grades The French Dispatch
Aug 02, 2021
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Gareth Spensley is a colourist at Company3 in London, who recently enjoyed one of the…
Greyscalegorilla Helps Navigate the Future of Motion Design
Aug 02, 2021
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Greyscalegorilla develops software for everyday workflows in motion design studio…
Preymaker Welcomes Senior Creative Rob Petrie to its Lineup
Jul 26, 2021
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Creative studio Preymaker has signed Rob Petrie to its team, bringing experience in…
MTI Film’s CORTEX v5.4 Updates DCP Packaging, Dolby Vision Mastering
Jul 19, 2021
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MTI Film has released an updated version of CORTEX, its software suite for managing media…
NIM 5.0 Helps Studios Track Performance as the Industry Goes Remote
Jul 18, 2021
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Sequence shot in NIM 5.0 NIM 5.0 updates NIM Labs’ studio management platform, developed…
‘Peter Rabbit 2’ Gets a Dolby Atmos Sound Mix at Sony Pictures Post
Jul 15, 2021
2689
‘Peter Rabbit 2: The Runaway’ is the sequel to the 2018 movie about a loveable rabbit…
Projective Skies Pushes the Limits on Post-Production Workflows
Jul 09, 2021
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Post-production companies have been managing remote work challenges in various ways,…
Cintel Scanner Takes on Film Archiving and Restoration at Athénée Français
Jul 05, 2021
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Athénée Français Cultural Centre in Tokyo originated from a French language school with…
Doug Delaney Grades the Divergent looks of Love, Death + Robots, Volume 2
Jul 05, 2021
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Launched in March of 2019 on Netflix, the first series of Love, Death + Robots brought…
FilmLight to Recognise Colourists in the Colour Awards
Jun 18, 2021
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FilmLight has announced a new awards programme to honour colourists and the art of colour…
FotoKem Builds on Creative Services with New Hire Andre Trejo
Jun 14, 2021
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Andre Trejo, VP of Creative Services, FotoKem As production continues to ramp up and…
