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Douglas Delaney Joins Light Iron as Supervising Colourist

Light Iron, the post-production creative-services division of Panavision, has hired Douglas Delaney to the company's artist roster as a Supervising Colourist.

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Douglas Delaney Joins Light Iron as Supervising Colourist

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Creating a Supernatural Colour Grade for ‘Salt Along the Tongue’

Colourist Daniel Pardy talks about building a working LUT for this film with a distinctive 16mm film look, helping the production make creative decisions on set, leading to the ideal final grade

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FilmLight REMOTE Delivers High-Quality, Low-Latency Remote Grading

FilmLight REMOTE, dedicated software for remote colour grading gives post teams the infrastructure to work remotely without sacrificing the high-quality, low-latency monitoring needed for efficient workflows.

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Avid Brings Post and Collaboration to Life at Renegade Animation

At Renegade Animation studio, Avid’s Media Composer NLE and NEXIS production storage are a robust, reliable editing system for episodic animation, supporting media management and interactive collaboration.

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Adobe Saves Time with Updates in Premiere Pro, After Effects and Frame.io

Adobe Premiere Pro (beta), After Effects (beta) and Frame.io have a new set of updates that focus on saving time on everyday tasks – from searching for clips to managing HDR pipelines.

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RE:Vision Effects Twixtor Frame-Rate Conversion Plug-ins Are Now Standalone

RE:Vision Effects’ Twixtor time frame manipulation plug-ins, used to convert frame rates and add slow or fast motion effects to videos, are now released as standalone software.

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Defining the Real Gotham City in Colour and Light for ‘The Penguin’

Pankaj Bajpai talks about grading the HBO crime thriller series ‘The Penguin’ on Baselight, bringing the look and feel of the movie ‘The Batman’ into the broadcast environment.

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Leostream and CineSys Enable Hybrid Post at Republic Creative Studios

Republic studios deployed Leostream’s Remote Desktop Access Platform as a remote technical infrastructure supporting high-performance workloads for grading, sound design and finishing.

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Light Iron Chooses Nara to Unify Media Access, Streaming and Indexing

Light Iron uses Nara for file navigation, content streaming and information sharing through a single, secure interface to help them collaborate efficiently and speed up workflows.

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Aidan Stanford Brings Colour to 'Interior Chinatown' in DaVinci Resolve Studio

Colourist Aidan Stanford at ArsenalFX Color created and managed a complex grade with distinct looks, transitions and effects in Davinci Resolve to follow the series’ multiple storylines.

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Molinare’s Ross Baker Brings a Love of Colour to Television and Film

Ross Baker, senior colourist and head of grading at Molinare in London, talks about building his career from telecine departments to running a team working across multiple genres.

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ORION-CONVERT Pipeline and AJA ColorBox Simplify Colour for Live Productions

Cromorama’s ORION-CONVERT Pipeline for colour management and QC helps live video producers control looks and manage a diverse range of HDR and SDR cameras and equipment.

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Molinare Welcomes Carlotta Rio to its Colourist Team

Carlotta Rio joins Molinare as Senior Colourist, bringing extensive experience across high-end documentary and episodic scripted projects.

Deidre McClelland Finishes and Grades Memoir of a Snail in DaVinci Resolve

Deidre McClelland, CSI, worked with animator Adam Elliot in Resolve Studio to produce the deliverables and develop looks capturing the…

Harbor Expands with Dedicated Dailies Facility at Shepperton Studios

Harbor has opened a new dedicated dailies facility at Shepperton Studios, purpose-built with a HDR grading and screening room, furthering…

Light Iron Welcomes Andrew Geary as Senior Colourist

Light Iron announces that Andrew Geary has joined the company as Senior Colourist, further strengthening the company's top-level team of…

Framefloor Builds Creative Post Workflows on AJA Gear

Framefloor’s team uses AJA’s Io 4K Plus hardware to ingest, work with and output a huge range of formats over 12G-SDI and HDMI for their…

DaVinci Resolve and Fusion 19.1 Update Multi-cam, Audio and VFX Workflows

DaVinci Resolve and Fusion Studio 19.1 include features to speed up and improve control over post workflows with better object mask…

Colourist Claudio Del Bravo Masters Colour and Light, Frame by Frame

Colourist Claudio Del Bravo talks about growing his career, building a studio in Rome from the ground up, and creating looks for projects…

Colour Grade in DaVinci Resolve Studio Tells a Civil War Story in The Damned

Colourist Natalia Raguseo talks about the tools she used in Resolve to build the look from the natural lighting and landscapes recorded on…

Wounded Buffalo Studio Specialises in Natural History Soundscapes on Avid

The team at Wounded Buffalo Sound, known for natural history audio production, talk about using the right gear to stay at the top of an…

Blackmagic Cloud Collaborative Workflow Brings RKM Studios’ Vision to the Screen

RKM Studios designed a collaborative workflow based on Blackmagic Cloud that kept all aspects of their music video project underway…

Colour Grade Brings History, Mythology and Drama to Life for Thangalaan

John Sriram talks about grading Thangalaan in Baselight, bringing colour to the historical drama about workers at India’s Kolar Gold…

Preymaker Opens Cape Town Studio, Launches Recruitment and Scholarship

Creative + Technology studio Preymaker has announced the opening of a new studio in Cape Town, SA. They are actively recruiting artists and…

MPC and Mikros Animation Welcome Senior Technology Officer Doug Bloom

MPC and Mikros Animation have appointed Doug Bloom as Senior Technology Officer, bringing over 25 years experience in VFX, animation,…

Colourist Pankaj Bajpai Changes the Colour of Historical Drama for ‘Bridgerton’

Pankaj Bajpai at Picture Shop talks about grading and creating looks for Netflix’s ‘Bridgerton’ using Baselight to create onset LUTs and…

Adobe Updates Premiere Pro Colour Management and After Effects 3D Workspace

Adobe’s Premiere Pro (beta) upgrade helps editors meet new demands for colour management; After Effects adds tools that blend 3D objects…

Moments Lab Adds AI-Powered Content Discovery to Adobe Premiere Pro

The Premiere Plugin synchronises Premiere Pro’s project panel bin with Moments Lab's Hub, making their MXT-1.5 multimodal AI engine for…

FilmLight Nara Simplifies Access to Data and Project Management

FilmLight’s new version of Nara, software for post workflows, is coming to IBC with streaming features for data and file access, project…

DaVinci Resolve Studio and Blackmagic Cloud Solve 4K Picture Post at BSQUARED

BSQUARED post studio make flexibility, collaboration and top quality work their priorities, using DaVinci Resolve with Blackmagic Cloud and…

José Francisco Neto Unravels the Colourist’s Role at FilmLight Colour Awards

José Francisco Neto talks about his 30-year career, what it means to work as a colourist today and tomorrow, and why he’s looking forward…

Sony BVM-HX3110 Reference Monitor Keeps Arsenal FX Color Ahead in Post

Arsenal chose the 4K Sony BVM-HX3110 to work alongside their fleet of BVM-HX310 monitors, pleased with the colour rendition, improved…

Colour and Cinematography Push Time and Place on TV Series Eric

Colourist Toby Tomkins and cinematographer Benedict Spence talk about creating the look for TV series ‘Eric’, shooting on ALEXA 35 and…

EditShare Wiredrive Keeps Stories on Track at Offroad Films

Offroad Films uses Wiredrive cloud media-sharing service to create and present showreels and pitch reels to clients and as a centralised…

Tim Belcher Joins Light Iron as New Managing Director

Light Iron, the post-production creative-services division of Panavision, has named industry veteran Tim Belcher the company’s new Managing…

Cinematographer Mandy Walker to Judge at FilmLight Colour Awards

Australian cinematographer Mandy Walker, a judge in the 2024 FilmLight Colour Awards, says she’ll be looking for colour that works with the…

Elodie Ichter Builds a Look from History on Baselight for FX’s ‘Shōgun’

TV series ‘Shōgun’ was graded remotely at The Mill by colourist Elodie Ichter. With creative freedom to create a look entirely from…

Finding the Perfect Finish for 'Furiosa: A Mad Max Saga'

Colourist Eric Whipp talks about working remotely with his team between LA, Toronto and Sydney to build the looks on Baselight that tell…

Company 3 and Baselight Align on the Colour Grade for ‘The Gentlemen’

Colourists Jean-Clément Soret and Matthieu Toullet talk about grading the series with the DoPs on Baselight, from continuity challenges to…

Dimension Studio Receives Major Investment to Support International Expansion

Dimension virtual production studio receives investment from Growth Catalyst Partners with the goal of extending the potential of virtual…

Reaktor Post Grades ‘Érase Una Vez En El Caribe’ on Baselight 6.0

Colourist Edgar Lebron took up FilmLight’s offer to work with Baselight 6.0 on Puerto Rican film 'Once Upon a Time in the Caribbean',…

DaVinci Resolve Studio Tames the Colour Grade for ‘Godzilla Minus One’

Colourist Masahiro Ishiyama of ARTONE FILM completed the colour grade on Blackmagic Resolve with Director Takashi Yamazaki on his…

Preymaker Welcomes Colourist Mark Sanna to its Creative Team

Creative studio Preymaker has hired colourist Mark Sanna, who will be available to collaborate in person as well as to host colour sessions…

Dirty Looks Bring Authenticity to 'The Zone of Interest' with Naturalistic Colour

Colourist Gareth Bishop talks about working with Baselight and director Jonathan Glazer to create a contemporary look for this film,…

Harbor UK Appoints Thom Berryman as Managing Director, Feature & Episodic

Harbor production studio has appointed Thom Berryman as UK Managing Director for Feature and Episodic. Prior to Harbor, Thom held a tenure…

zweiB Upgrades to R&S CLIPSTER 6 MK 2 for Precise, Consistent Mastering

zweiB post, a specialist in deliverables for cinema, events and trade shows extended its long partnership with Rohde & Schwarz, moving up…

Élodie Ichter Joins Light Iron as Senior Colourist

Light Iron, the post-production creative-services division of Panavision, is pleased to announce that Élodie Ichter has joined the…

Adobe Brings Major Updates to Frame.io, Firefly, Photoshop at NAB, Adobe MAX

At NAB and Adobe MAX London, Adobe showed updates, new integrations and AI functionality for Frame.io and Photoshop, including the new…

Colorfront Brings Dolby Vision, AI and New Colorfront Engine Features to NAB

NAB Colorfront showed new Dolby Vision mastering features, AI tools accelerating QC and the new version of Colorfront Engine supporting…

FilmLight Nara Connects Creative Teams with Native Media Decodes and Playback

NAB FilmLight’s new Nara software gives post-production facilities, VFX houses and other media professionals immediate access to media from…

Blackmagic DaVinci Resolve 19 Updates Colour, VFX, Editorial, Sound Workflows

NAB Resolve 19 update adds DaVinci Neural Engine AI tools, colour grading palettes, Fusion FX, Fairlight 3D audio panning, new rotoscoping…

Swank Motion Pictures Enlists Interra BATON for Automated Quality Control

Interra Systems’ BATON AI/ML-enabled QC platform and BATON Media Player automate QC and compliance at Swank Motion Pictures to improve…

Rose Hancock Joins Axis Studios as VFX Executive Producer

Axis Studios animation and visual effects company is proud to announce the appointment of Rose Hancock as Executive Producer within its VFX…

Rodeo FX Adds Colour Grading with Baselight, Hires Ana Ecorse

Rodeo FX, known best for VFX, animation and post, has expanded into colour grading by opening a new Baselight grading suite and hiring…

Maxine Gervais Joins Harbor as Senior Colourist

Post studio Harbor hired Maxine Gervais as Senior Colourist, bringing a wealth of experience and an illustrious career working on over 50…

Matchbox Pictures Chooses Avid Edit On Demand for Cloud Production Services

To post produce a reality TV series, Matchbox Pictures adopted Avid’s Edit On Demand remote editing system with NEXIS storage for a team of…

424 Post and Harbor Unite to Launch HDR Theatrical Post Studio

LA sound studio 424 Post and post studio Harbor have entered into a collaboration launching Culver Post, a full-service post-production…

Picture Shop’s Mark Kueper Uses DaVinci Resolve Studio to Capture Billy the Kid

Mark Kueper graded both seasons of Billy the Kid in DaVinci Resolve, taking the look from Canada’s lush green spring to arid New Mexico,…

DaVinci Resolve Studio Handles Complete Picture Finishing for BBC Series ‘Vigil'

Blazing Griffin Post’s team in Glasgow returned for post production of ‘Vigil’ season 2, delivering all aspects of picture finishing in 4K…

DFT Scanity 4K Film Scanner Participates in Digitisation Initiative at Poland’s FINA

The DFT Scanity 4K Scanner, with a WetGate system, contributes to digitising, restoring and promoting Polish audiovisual heritage at FINA,…

Baselight v6.0 Opens the World of Machine Learning to Colourists

FilmLight’s Martin Tlaskal talks about the growing importance of machine learning in post-production today, and introduces Face Track…

Picture Shop Names Rachel Faith Hanson as Executive Producer of VFX

Picture Shop has named Rachel Faith Hanson executive producer of visual effects, with over 20 years of industry experience throughout the…

Option Media Integrates Audio/Video Post Workflows with Resolve Studio

Option Media overhauled its legacy systems and now operates seven studios, adopting DaVinci Resolve Studio for both audio post and picture…

FilmLight Colour Awards Winners Share Tips, Insights and Stories

The winners of the 2023 FilmLight Colour Awards talk about their projects and their very different creative and practical approaches to…

Qumulo Puts PFX in Control of Studio Storage Capacity, Performance and Scale

Martin Polak at PFX post facility in Prague talks about adopting the Qumulo File Data Platform to manage and centralise the massive file…

Signiant Makes Complex File Movement Simple and Fast at Blazing Griffin

Media Shuttle simplifies production, post and distribution workflows at Blazing Griffin, ensuring accuracy and timeliness of file delivery,…

Fusion Studio Makes a Smart Option for Compositing in 'Dumb Money'

VFX Supervisor Sam O’Hare led four VFX teams to deliver over 500 shots for ‘Dumb Money’, using Fusion to design super efficient scripts for…

Sony Ci Media Cloud Introduces New Business Tier, Transfer App, Dolby Atmos Support

Sony’s Ci Media Cloud media management now features a subscription Tier for small to medium businesses, a desktop file transfer app and…

Baselight Colour Grade Brings Cinematic Realism to ‘A Piece of Sky’

Timo Inderfurth graded A Piece of Sky, Best Film award winner at the 2023 Swiss Film Awards, on Baselight, playing a central role in the…

DaVinci Resolve and Blackmagic Cloud Support Frida’s Remote Post Workflow

Image Workflow Supervisor Ernie Schaeffer used DaVinci Resolve Studio and Blackmagic Cloud as the main DI processing tools for most of the…

Adobe Visualises a New Audio Editing Workflow for Premiere Pro

Adobe added new audio tools, now in beta, to the Premiere Pro timeline to speed up editing, including interactive fade handles on clips and…

Colourist Sean Dunckley Joins Goldcrest Post's Senior Creative Team

Sean Dunckley joined the creative team at Goldcrest Post as Senior Colourist, bringing experience from more than 130 credits spanning…

Supervising Colourist Peter Doyle Joins Picture Shop

Picture Shop has hired Supervising Colourist Peter Doyle to join its roster of artists. His 25 years of experience include work on films…

Eurotape Media Upgrades R&S Clipster and Storage Network for Faster Mastering

Eurotape Media manages, processes and delivers large, high resolution files under tight deadlines. Their Clipster and SpycerNode…

Sonny Sheridan Lives a Life for Colour

Senior colourist Sonny Sheridan talks about his career as a colourist over the past decades – from projects to influences and tools – and…

Federal German Archives Invests in Film Digitisation Expertise from DFT

Germany’s National Film Archive has installed a film digitisation facility in Berlin that centres on six DFT film scanners specialised in…

Life in Six Strings Stays in Tune with Hangman and DaVinci Resolve Studio

James Tonkin talks about shooting and producing this series of interviews with famous guitarists, using DaVinci Resolve Studio and…

Baselight 6.0 Adds New Colour Space, AL/ML Tools, Look Dev for Colourists

FilmLight’s Baselight 6.0 includes an updated timeline, new primary grading tool X Grade, the new Chromogen look development tool, plus…

Avid Editing and Storage Bring ENVY’s Post-Production Workflows Up to Speed

ENVY’s five London studios now run on Avid Media Composer | Enterprise editing software and NEXIS F-Series storage engines, supporting…

Mark Mulcaster Colours the Fighter’s Life for Documentary Series ‘Hatton’

Colourist Mark Mulcaster at Sky Post Production worked on Baselight to bring together archival and modern purpose-shot 4K footage for this…

Cinnafilm and Perifery Partner to Enhance Media Conversion Workflows

Cinnafilm’s and Perifery’s new partnership makes Perifery’s object storage systems Object Matrix and Swarm available alongside Cinnafilm’s…

DaVinci Resolve Studio Gives ‘Twisted Metal’ a Dangerous Look at Light Iron

Light Iron’s colourist Charles Bunnag graded this dramatisation of the Twisted Metal video game in Resolve with a high contrast, saturated…

DigitalFilm Tree Uses Signiant Fast File Transfer to Keep Ahead in TV Series Post

DigitalFilm Tree chooses Signiant Media Shuttle for remote workflows for faster transfers, its level of security and performance, and the…

Sebastian Göhs Meets the Challenge of Fantasy for Amazon Series ‘The Gryphon’

Sebastian Gohs talks about his start in colour grading, working as a freelancer, recent work on Amazon TV series ‘The Gryphon’ and learning…

Eric Weidt Defines the Colour of ‘The Killer’

Colourist Eric Weidt talks about working with Director David Fincher and DP Erik Messerschmidt to create looks in Baselight for the three…

Signiant Recognised with Trusted Partner Network App and Cloud ‘Gold Shield’

Signiant joins the Trusted Partner Network after successfully completing a TPN App and Cloud Gold Shield assessment to help counter ongoing…

PHABRIX and Leader Devices Support Live UHD/HDR Production at TVN

TVN LIVE PRODUCTION mobile TV services acquired a large fleet of PHABRIX and Leader’s rasterizers and wave form monitors for fault…

Colourist Luke Morrison Takes Colour a Step Beyond for FilmLight Colour Awards

Colourist Luke Morrison from Electric Theatre Collective talks about his career so far, how to stand out from the crowd and what he’s…

Adobe Integrates New Firefly Generative AI Models into Creative Workflows

Adobe Firefly generative AI models and features are impacting artists’ creativity and use of Creative Cloud applications, increasing…

PostHero Builds Remote Post System on Blackmagic Cloud Store

PostHero is a remote post workflow service that combines Blackmagic network storage hardware, DaVinci Resolve Studio software and…

Colourist Paul Ensby on Growing Up in Colour

Colourist Paul Ensby from Picture Shop talks about his roots in a family of colourists, starting in film, working on early DI project…

Raúl Lavado on Dedicating a Career to Colour, Art and Technology

Colourist Raúl Lavado Verdú talks about becoming a colourist, why he likes grading on the Baselight grading system, and two of his top…

Colorfront Develops 8K/HDR Streaming Tools, Updates Mastering Workflows

At NAB 2023 Colorfront demonstrated new capabilities for streaming and working remotely 8K/HDR with video and how all of its tools now…

Adobe Premiere Pro and After Effects Gain Speed and Intelligence for Video Post

Adobe’s Creative Cloud applications, showing at NAB 2023, focus on AI-powered text-based video editing, GPU acceleration, automated colour…

Adam Dolniak Finds the Colour of Amazing for ‘The Amazing Maurice’

Adam Dolniak, a Baselight colourist experienced in live action work, here talks about his first animated project, relying on the software’s…

DaVinci Resolve Brings Indian Spectacle ‘Kantara’ to Worldwide Audience

‘Kantara’ draws India’s vibrant cinematic style to international attention, using colour tools in Resolve to highlight the story’s…

Time in Pixels and AJA Push Ahead with Video Analysis for Post

Time in Pixels and AJA are working on software products that help filmmakers, colourists and post teams analyse video sources and imagery…

Damien Vandercruyssen Defines the Colour of Dreams for 'Bardo'

Colourist Damien Vandercruyssen at Harbor in LA worked on Baselight with cinematographer Darius Khondji to create elusive but memorable…

Heckler Introduces a New VFX Supervisor, Two Studios and a New Website

Heckler post-production studio in Sydney reveal their new VFX Supervisor Julian Ford in a special conversation, plus news of their new…

InSync Enhances FrameFormer Conversion Quality and Viewer Experience

FrameFormer now achieves higher real time conversion quality using CPU only, while reducing demands on processors, and is also available on…

Union VFX Moves its CG Pipeline to USD Format

VFX studio Union has made a significant investment in their facility’s CG department with a new USD-based pipeline and two key hires.

Cinegy Capture CAPTURES ENVY’s New Remote Workflow Service

ENVY's new division called CAPTURE specialises in remote post workflows, delivering record and media management on location, tailored to…

The Finish Line Completes UHD / HDR Picture Post for ‘I Am a Killer’

Finishing Artists Zeb Chadfield and Steve Alexander at The Finish Line set up a distributed full post workflow for Netflix’s crime…

Racoon Adds Baselight TWO, Blackboard and a new Senior Colourist to the Team

With senior colourist Enge Gray now on their staff and a number of UHD/HDR projects coming in, Racoon purchased the Baselight TWO grading…

HIT Productions Deploys Flexible Dante AV Throughout New Post Studio

HIT Productions implemented Dante AV video system to transport all audio and video signals through their new studio, resulting in flexible,…

Tashi Trieu Delivers on Post and Colour for ‘Avatar: The Way of Water’

Colourist Tashi Trieu combined his understanding of VFX, motion picture imaging, colour science and digital post workflows with grading…

Digital Film Technology Appoints Gunter Weidlich as Managing Director

DFT film scanning developers has a new Managing Director Gunter Weidlich, formerly a founding DFT MD involved in developing the Spirit…

ARC EDIT and ARC FILM Stay on the Edge with Post and Mastering Workflows

ARC’s Joseph Perkins talks about what it takes to keep producers, artists and technicians working under optimal conditions – from Avid…

ETC Adopts FilmLight FLUX Store for Flexible Post Storage Management

Electric Theatre Collective chose FLUX Store to support its move into longform post with adaptable, efficient storage that can store and…

Award-Winning Colourist Natasha Leonnet Joins Picture Shop

Picture Shop announced that artist Natasha Leonnet, HPA Award winner for her contribution to ‘Spider-Man: Into the Spider-Verse’, has…

PHABRIX Develops Waveform Monitoring for Qx and QxL Rasterizers

PHABRIX’s new waveform instrumentation for Qx and QxL rasterizers delivers fine detail for camera shading or grading but keeps the…

Aljoscha Hoffmann Tells the Story in Colour for ‘Dear Mr Führer’

Colourist Aljoscha Hoffmann talks about recreating a historic film look in Baselight with DoP Tim Kuhn for this award-winning movie for…

Aljoscha Hoffmann Tells the Story in Colour for ‘Dear Mr Führer’

Colourist Aljoscha Hoffmann talks about recreating a historic film look in Baselight with DoP Tim Kuhn for this award-winning movie for…