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Workshops & Presentations

IBC2019
IBC2019 Colour Day

Colour on Stage: Eric Weidt

In this video, Eric Weidt talks about his collaboration with director David Fincher – from defining the workflow to creating the look and feel of ‘Mindhunter’. Eric will break down scenes and run through colour grading details of the masterful crime thriller.

IBC2019 Colour Day

Baselight: New features and workflow efficiencies: FilmLight API

In this segment, find out more about the FilmLight API, the new programming interface to the Baselight colour grading platform and Daylight, FilmLight’s dailies management and transcoding system.

The FilmLight API is designed to automate common but time-consuming tasks, such as VFX transcoding and retrieving/setting metadata.

IBC2019 Colour Day

Baselight: New features and workflow efficiencies: Timeline improvements

In this segment, find out more about the timeline improvements in Baselight. Baselight’s enhanced timeline features collapsing stacks and multiple tracks.

IBC2019 Colour Day

Baselight: New features and workflow efficiencies: Input versioning

In this final segment, explore the new input versioning feature in Baselight.

Input versioning – either via filenames or making use of the Open Clip XML format – means that a scene can be updated with new versions of shots, providing massive time savings in quick-turnaround VFX jobs where new versions are constantly arriving.

IBC2019 Colour Day

Understanding visual adaptation for multi-delivery projects

Coding of sensory information changes depending on the stimulation and the environment. Visual adaptation is a highly dynamic process, and we are continuously adapting to the current viewing context. It is continuously regulating our perception and visual experience.

Understanding the process of adaptation will tell us not only about our visual system but also about the natural world, because adaptation is highly optimised for natural images.

FilmLight Image Engineer Daniele Siragusano will try to put this topic into the context of content creation and colour grading for multi-delivery projects.

IBC2019 Colour Day

Explore the creative possibilities of Baselight v5

With a live presentation on stage from FilmLight Colourist and Workflow Specialist, Andy Minuth, you can explore some of the next-generation tools in Baselight v5 for colour grading and spatial shaping, and discover why the colourist community has adopted them.

IBC2019 Colour Day

Maintaining the DOP’s creative looks from set to post

Meet with French Digital Imaging Technician Karine Feuillard ADIT, who worked on the latest Luc Besson film ‘Anna’ as well as the TV series ‘The Marvelous Mrs Maisel’, and FilmLight Workflow Specialist Matthieu Straub.

IBC2019 Colour Day

Real-time collaboration on the world’s longest running continuing drama, ITV Studios’ ‘Coronation Street’

Improving production processes and enhancing pictures with efficient renderless workflows, with Colourist Stephen Edwards, Finishing Editor Tom Chittenden and Head of Post Production David Williams.

IBC2019 Colour Day

Joining forces… Strengthening VFX and finishing with the BLG workflow

Jim Bracher, Senior Colourist at Youngster in London, is joined by VFX Artist Robin McGloin to showcase their collaboration on recent projects.

NAB2019
NAB2019 Colour Day

NAB2019: Andy Minuth, Colourist, FilmLight (Part 2)

In Part 2, Colourist Andy Minuth puts the tools discussed in Part 1 (below) to practical use. He covers all of the features based on FilmLight's advanced frequency separation techniques: Texture Equaliser, Texture Highlight and Texture Blend.

Andy showcases real-world examples and explains why the colourist community has adopted them so quickly.

NAB2019: Fernando Medellin

NAB2019: Fernando Medellin, Colourist, Oxido, Mexico

At Oxido in Mexico, Fernando Medellin grades commercials, features and television: he was in at the beginning of the color workflow for Oscar-nominated Roma, grading dailies for Alfonso Cuarón.

In this exclusive live ‘Meet The Colourist’, Fernando talks about his collaborative creative work with the director and DoP on set. He also explains his grading approach on high-end commercials.

NAB2019: Andrea Chlebak

NAB2019: Andrea Chlebak, Senior Colourist, Deluxe Entertainment Services (Encore Hollywood and EFilm)

Andrea Chlebak is a senior colourist at Deluxe Entertainment Services (Encore Hollywood and EFilm), handling features, episodics and documentaries. Her recent credits include award-winning indie productions Mandy and Prospect, Neill Blomkamp’s Elysium and Chappie.

In this video, Andrea talks about how she works with directors and cinematographers to enhance the narrative through colour.

NAB2019 Replay

NAB2019 Replay

A short video showing what we were demonstrating on the show floor at NAB2019 - including the next generation grading tools in Baselight 5.2 and the upcoming 5.3 release, a first look at the new FilmLight API (allowing advanced automation for managing media and Baselight scenes using Python, Javascript or Java), and the debut of the Blackboard Classic panel.

Camerimage 2018
Camerimage 2018

Session One: Post-production for Cinematographers – From Camera to Display

What processes impact the image on its journey from camera to mastering display? Digital post-production is a complex process, similar to the chemical process of emulsion film.

In this session, Senior Colourist and FilmLight Colour Workflow Specialist Andy Minuth explains the impact of digital image acquisition and the important image processing steps involved in post-production. He shares a transparent view on spatial processes like demosaicing and sharpening, as well as colour management involving colour and rendering transforms.

The aim of this talk is to help increase your natural intuition of the image processing pipeline in post. It will help you to identify errors and find the best settings for your project.

Camerimage 2018

Session Two: Natural Colours & Texture | A View on Colours & Texture in Painting

Part A: Natural Colours & Texture

How can we achieve cinematic images with preferred colour and contrast modulation in times of super-sharp, wide gamut cameras and displays?

In the first part of this session, FilmLight Image Engineer Daniele Siragusano focuses on the first principles of natural colours and texture including the fundamental differences between the real world and modern HDR wide gamut image reproduction. From there, a road map is outlined towards cinematic experience in digital cinema and television. He also presents new creative tools that help to bring back naturalism to digital images.

Part B: A View on Colours & Texture in Painting

How did the grand masters of painting use light, colour and texture in their extraordinary work?

In the second part of the session, cinematographer Rolf Coulanges (BVK) shows some results of how his extensive study of the grand masters’ painting has impacted his work today. With many beautiful examples, he demonstrates how colour and texture form an image.

IBC2018
IBC2018 Colour Day

IBC2018 Colour Day: Daniele Siragusano, Image Engineer, FilmLight (Part 1)

A key speaker at many of the masterclasses that have formed the FilmLight global colour tour, here Daniele will focus more on the first principles of natural colours and texture including the fundamental differences between the real world and modern HDR wide gamut image reproduction. Part 2 (coming soon) gets deeper into the management of colour spaces and completes a day where colourists have shared their craft drawing on real experience.

IBC2018 Colour Day

IBC2018 Colour Day: Maxine Gervais, Senior Supervising Colourist, Technicolor, LA

Renowned colourist Maxine Gervais worked on this year’s commercial and critical Marvel Studios hit, Black Panther, sci-fi feature The Meg, and most recently Sony Pictures’ Alpha, set in the Ice Age.

In this exclusive session, Maxine shares the technical and creative aspects of the colour development on these three projects, working with acclaimed cinematographers, directors and VFX teams. She shows how Baselight X helped her achieve these three distinctive looks.

IBC2018 Colour Day

IBC2018 Colour Day: Sylvain Canaux, Colourist, St Louis, Paris

A native Parisian, Sylvain Canaux started his career at post house St Louis where he quickly gained recognition for his work on beauty grading for high end commercials and photographers, such as Chanel, Yves St Laurent & Dior.

Using Baselight v5, Sylvain illustrates the challenges of moving between colour spaces and showed how these challenges can be met through a combination of colour science and artistic skills.

IBC2018 Colour Day

IBC2018 Colour Day: Mike Nuget, Freelance Colourist/Editor, New York City

Initially a member of the Technicolor-PostWorks team, Mike Nuget recently branched out on his own, and he has been applying his skills in colour grading, editorial finishing, and visual effects to film, TV and documentaries.

Mike shares his recent experiences live using the new Baselight 5 for Avid tools, with a focus on Base Grade, Texture Equaliser, Boost Contrast, and other new features.

International Cinematography Days 2018
International Cinematography Days 2018

From Photons captured by a Camera to Photons emitted by a Display

In this seminar, FilmLight's Daniele Siragusano provided a full and complete picture of how data acquired by a camera is recorded, manipulated, finally interpreted and prepared to be viewed by the audience. Several fundamental concepts were explained:

  • Camera profiling: the principles of camera encoding and operations.
  • A novel way to think about exposing a camera.
  • Different colour grading styles and their heritage.
  • Colour appearance modeling and preferred colour reproduction.
  • Base Grade: a photographic approach to colour grading.
International Cinematography Days 2018

Managing Colour in a Multi-Delivery Production

In this seminar, Daniele discussed future-proof colour management strategies optimised for multi-delivery (SDR and HDR). First, fundamental differences in display characteristics between HDR and SDR Displays were reviewed from a technical and creative standpoint. Based on those findings, the major HDR distribution standards were examined from a conceptual standpoint. Finally, a distribution agnostic post-production colour workflow, and an outlook on future work, were presented.

 

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