Autodesk Flame Speeds up 4K/UHD, Conform and HDR Workflows
Updates to Flame, Flare and Flame Assist help artists manage 4K/UltraHD and HDR content with new HDR colour curves in MasterGrade, faster conforms and upgraded video previews.
Post Production News
October 04, 2021
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DaVinci Resolve Captures a ‘Streetwise’ Look at Life in Modern China
Chinese feature film ‘Streetwise’ (‘Gaey Wa’r’) is set within the period of population migration from less developed regions to tier one cities at the beginning of 2000 in China. The story concerns a group of young people who want to leave their small town…
October 04, 2021
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ShotGrid Helps VFX Studios to Dynamically Scale and Allocate Resources
Autodesk ShotGrid production management software now has new Resource Planning views to help producers and management teams improve their scheduling workflows. When teams need to quickly scale for growing workloads, Resource Planning views can be used to…
October 04, 2021
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MTI Film DRS NOVA v5 Automates and Accelerates Digital Film Restoration
DRS NOVA v5 is the most recent version of MTI Film’s digital restoration software. This version is updated with new features that support projects delivering in 4K HDR, and a new utility called Shine that automates the time-consuming filtering of dirt and…
September 22, 2021
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Company 3 London Hires Colourist Jean-Clément Soret and EP Ellora Soret
Company 3 has hired Colourist Jean-Clément Soret, formerly Global Creative Director of Colour Grading at MPC. He is joining as Senior Colourist. Jean-Clément has brought his mastery of colour grading to major features and commercial campaigns internationally…
September 20, 2021
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DaVinci Resolve Fairlight Designs Audio Post on Racing TV Series
An upcoming four-part TV documentary series titled ‘Magnificent Madness’ covers the life of Tazio Nuvolari, one of Italy’s most famous racecar drivers, who rose to stardom in the 1930s. Ferdinand Porsche called him "the greatest driver of the past, the…
September 14, 2021
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M2A Media and InSync Launch First Cloud-Based Live Frame Rate Converter
M2A Media, specialising in software-defined broadcast systems, is collaborating with image processing and broadcast standards conversion specialists InSync Technology Ltd and video streaming and transcoding company Hiscale to launch the first…
August 30, 2021
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DaVinci Resolve Tells The Protégé’s Story in Colour and Light
Nu Boyana Post used a DaVinci Resolve Studio colour pipeline to complete the colour correction and grade on a new thriller, guiding viewers’ eyes through key story points.
August 23, 2021
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Cinematographers and Colourists Support FilmLight Colour Awards
Nicola Daley, Australian cinematographer FilmLight recently launched a new event, the FilmLight Colour Awards, honouring colourists and the art of colour worldwide, with winners due to be celebrated at EnergaCAMERIMAGE 2021 in Poland at Toruń, 13 - 20…
August 11, 2021
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ftrack Integrates cineSync Play for Hi-res Sequence Review
ftrack's new cineSync Play is an integrated desktop media player for locally reviewing high-resolution frame sequences, video and other media. By the end of 2021, it will become part of ftrack Studio production tracking and media review system for creative…
August 09, 2021
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DPP and SMPTE Publish Major Updates to IMF Documentation
The DPP and SMPTE collaborated on two new Documents for the IMF, aiming to increase efficiency when mastering and exchanging content, leading to adoption by the BBC in mid-2021.
August 02, 2021
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Baselight Colourist Gareth Spensley at Co3 Grades The French Dispatch
Gareth Spensley is a colourist at Company3 in London, who recently enjoyed one of the highlights of his career working with director Wes Anderson on the colour grade of the new film ‘The French Dispatch’. After nearly 14 years as head of colour grading at…
August 02, 2021
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Greyscalegorilla Helps Navigate the Future of Motion Design
Greyscalegorilla develops software for everyday workflows in motion design studio environments that use Cinema 4D and After Effects, with Redshift, Octane and Arnold render engines, to create titles, commercials, broadcast graphics and experiential displays.…
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
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‘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…
Qumulo Studio Q Builds Post Production Platforms in the Cloud on AWS
Jun 09, 2021
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Qumulo Studio Q is a post production platform for creative teams that replicates…
Colourist Aidan Stanford Joins Arsenal FX Color
May 31, 2021
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Film and television colourist Aidan Stanford, with 25 years of experience, joins…
Evolutions Upgrades to 4K HDR Post and Colour with MTI, Sony, Calman
May 31, 2021
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Evolutions, one of the UK's largest independent post-production companies, is now…
Colorfront Collaborates with AWS on Cloud-Computing Platform
May 18, 2021
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Colorfront has collaborated for several years with Amazon Web Services supporting…
Carbon Welcomes Art Director Ian Bradley
May 18, 2021
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Ian Bradley has joined creative studio Carbon’s growing team of designers and directors.…
Color Finale Transcoder Speeds RAW Media Imports into FCP
May 13, 2021
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The new Color Finale Transcoder workflow imports camera media directly into the Final Cut…
Colourist Élodie Ichter Joins Picture Shop
May 12, 2021
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Colourist Élodie Ichter has joined the roster at Picture Shop, a Streamland Media company…
Germany’s Ku’damm 63 Tells a New Story in HDR with DaVinci Resolve
May 12, 2021
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The third instalment of Germany’s Ku’damm miniseries franchise is titled ‘Ku’damm 63’.…
CineSync Previews 360 Video, Supports Animation Ghosting
Apr 27, 2021
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cineSync media review system now supports 360 video content. The 360, or latlong…
Colourist John Daro Joins the Two Worlds of ‘Tom & Jerry’ in Baselight
Apr 27, 2021
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The colour grade for the new ‘Tom and Jerry’ movie, featuring animated characters Tom and…
Colorfront’s Streaming Server Supports Remote Colour-Accurate Post
Apr 25, 2021
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The new Colorfront Streaming Server is a live-streaming appliance built to carry out a…
R&S CLIPSTER and PRISMON Upgrade to Dolby, IMF and IP Standards
Apr 19, 2021
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R&S PRISMON Multiviewer Rohde & Schwarz has updated CLIPSTER mastering system for feature…
Flame 2022 Automates Camera Tracking, Adds NDI Remote Workflow
Apr 17, 2021
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Autodesk Flame’s recent 2022 update has a new camera tracker that performs very rapid…
Digistor Becomes Australia’s First Adobe Certified Service Partner
Apr 12, 2021
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Digistor has become Australia’s first Adobe Certified Service Partner for Video and…
Artyficial Builds Moscow’s Colour Community on FilmLight Pipeline
Apr 11, 2021
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Colourists Artem Leonov and Timofey Goloborodko launched Artyficial, one of Moscow’s top…
AFX Creative Expands Leadership and Production Team
Mar 22, 2021
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AFX Creative, an independent studio that specializes in VFX, design/motion, color and…
DP, Colourist and Mikros Image Catch the Look for ‘Lupin’ in Baselight
Mar 16, 2021
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The French series 'Lupin' has become a worldwide success for Netflix, ranking number one…
ZOO Digital Remote ADR Service Supports Dispersed Productions
Mar 14, 2021
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In response to the recent interest in remote and hybrid production and post production…
Baselight Colourist Makes the Grade from Istanbul to Mumbai and Beyond
Mar 07, 2021
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Ragib Metin Okutay is a colourist who studied, trained and started his career in…
DaVinci Resolve Studio Supports Remote Grading for Sundance Winner ‘Cusp’
Mar 01, 2021
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Freelance Senior Colourist Andrew Francis graded a new documentary titled ‘Cusp’, winner…
LWKS QScan 2021 Adds HDR Measurements for Media Compliance
Feb 27, 2021
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. QScan automated quality control software now includes High Dynamic Range (HDR)…
AJA 12G-SDI Upgrades Commercial Post to 4K/UHD at ADK Creative One
Feb 22, 2021
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As consumers’ demand for high quality video and audio content continues to grow, so do…
Gorilla Group Adopts Sony BVM-HX310 Master Monitor into 4K HDR Pipeline
Feb 19, 2021
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Sony Trimaster BVM-HX310 LCD monitor in use at Gorilla Group's Cardiff Bay headquarters.…
ATTO 360 Tuning Software Now Supports Avid NEXIS and Autodesk Flame
Feb 15, 2021
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ATTO Technology's 360 tuning, monitoring and analytics software version 2.1 now includes…
Homeboy Grows the Look for China’s Little Red Flower on DaVinci Resolve
Feb 11, 2021
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Chinese director Han Yan released ‘A Little Red Flower’ as the second instalment of his…
EIZO ColorEdge CG Monitors Receive Scientific and Technical Award
Feb 08, 2021
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EIZO is honoured to receive a Scientific and Technical Award from the Academy of Motion…
intoPIX JPEG XS Plugin for Premiere Pro Speeds Live Video Workflows
Jan 30, 2021
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intoPIX JPEG XS Plugin for Adobe Premiere Pro, developed for video editing and live…
Cintel Scanner Assures Restoration of Brazil’s Film History at Afinal Filmes
Jan 18, 2021
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Afinal Filmes was founded in 1998 by CEO Marcelo Pedrazzi, and has played an important…
Baselight 5.3 Upgrades Colour Control and Processing for Artists
Jan 16, 2021
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FilmLight’s new Baselight v5.3 updates artists’ control over the grading process…
MTI CORTEX v5.3.2 Upgrades IMF Mastering and Deliverables Workflows
Jan 10, 2021
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MTI Film’s CORTEX v5.3.2, software that manages workflows from the set through…
ArsenalCreative Welcomes Thomas J Connors as VFX Supervisor
Jan 06, 2021
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3D artist Thomas Connors has been named VFX Supervisor and CG Generalist at…
InSync PixFormer Engine Delivers Software-Based HDR/SDR Conversions
Jan 04, 2021
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InSync Technology’s PixFormer is an API-integrated software-based conversion module…
Arch Platform Scales Up VFX Studio Workflows in the AWS Cloud
Jan 04, 2021
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Arch Platform Technologies has developed secure, cloud-based infrastructure on AWS that…
Baselight X Recreates 1930s Hollywood in Black and White for ‘Mank’
Dec 22, 2020
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‘Mank’ is a biographical film made for Netflix and directed by David Fincher. Its…
ENVY Post and Signiant Integrate to Keep Productions Moving
Dec 10, 2020
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ENVY Post Production in London, like media facilities around the world, moved its entire…
DaVinci Resolve Finishes and Grades Environmental Docmentary for Netflix
Dec 07, 2020
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Josh and Rebessa Tickell talk about finishing and grading their feature length…
R&S CLIPSTER Masters ‘Parasite’ in Dexter Studios’ DI Workflows
Nov 30, 2020
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Within Korea’s film and TV production industry, Dexter Studios in Seoul is recognised as…
Japanese Colourist and Australian DoP Build a Drama in Baselight
Nov 30, 2020
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‘They Say Nothing Stays the Same’ is the second film that Japan’s Joe Odagiri, best known…
Pacific Post Rolls Out In-House Remote Editorial Collaboration to Studios
Nov 23, 2020
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Pacific Post editorial rentals and services provider originally developed their…
Aljoscha Hoffmann Charts New Territory in Colour on Baselight
Nov 16, 2020
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Aljoscha Hoffmann is a colourist at CinePostproduction in Munich. His launch into the…
Blackmagic Upgrades DaVinci Resolve 17 for Colour, Editorial, Audio Post
Nov 13, 2020
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Blackmagic Design DaVinci Resolve 17 includes HDR grading tools and upgraded primary…
Sohonet ClearView Flex Supports 10-bit Colour and 5.1 Surround Sound
Oct 05, 2020
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Sohonet ClearView Flex users will now see better colour quality in streaming sessions…
Frame.io 3.7 Supports High-Speed File Sharing and Accurate Reviews
Aug 30, 2020
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Frame.io Final Cut Pro X Workflow Extension with new proxy media tools Frame.io has been…
OpenColorIO Version 2 Updates ACES Transforms and GPU Renderer
Aug 20, 2020
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The Academy Software Foundation (ASWF), dedicated to open source software development in…
Mosfilm and Codex Media Vault Keep Russia’s Film Industry Rolling
Aug 17, 2020
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A complete CODEX workflow system, including Media Vault shared storage, supports on-set…
Senior Colourist in Tokyo Embraces New Approaches to Colour with Baselight
Aug 12, 2020
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Naotaka Takahashi is a Senior Colourist at L’Espace Vision in Tokyo. Throughout his…
Cintel Scanner and Resolve Scan and Restore Classic Films in Mexico
Aug 09, 2020
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At Digital Sprockets in Mexico, founder Benjamin Fernández Rodriguez Maribona and his…
DaVinci Resolve Tells a Spectacular Colour Story for ‘Normal People’
Aug 03, 2020
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The BBC’s 12 part drama series ‘Normal People’ was post produced entirely at Outer Limits…
MPS Keeps R&S CLIPSTER Mastering on the Edge with SpycerNode Storage
Jul 27, 2020
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Motion Picture Solutions (MPS) international film services facility handles mastering,…
AWS Keeps Untold Studios’ Artists Creating in the Cloud
Jul 20, 2020
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At the time Untold Studios launched in late 2018, they sidestepped certain conventions of…
SGO Mistika Boutique Supports AJA T-TAP for Post Production Monitoring
Jul 09, 2020
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SGO and AJA have partnered to make the SGO finishing software Mistika Boutique compatible…
