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FilmLight showcases latest solutions at Broadcast & Cable 2013
FilmLight will be joining its local partner, PSK Engenharia, at Broadcast & Cable to demonstrate how its entry-level products make high quality grading available to all, as well as demonstrating the “colour pipeline” at every stage of production through to … Continue reading →
Digital Film Central & FilmLight create ACES workflow for Elysium 4K Finish
Vancouver based post-house Digital Film Central relies on Baselight TWO to help create a fully ACES-compliant and flexible colour pipeline, from VFX to DI
As the post facility for Neill Blomkamp’s new movie Elysium, Digital Film Central (Central) constructed … Continue reading →
FilmLight manages colour from Slate to finish
IBC demonstration shows how the professional approach to colour management and grading delivers creative control and a tangible return on investment
At IBC2013, FilmLight is showing upgrades across its range of products that put colour grading and management of the … Continue reading →
Color Science Basics for Filmmakers
When working with images every day it pays to have have an understanding of how our eyes see color and what really goes on “under the hood” when cameras and software store and manipulates images.
Peter Postma is giving … Continue reading →
Studio Daily: How Elysium’s 4K DI Integrated Editorial and VFX
Senior DI Colourist Andrea Chlebak talks to Studio Daily about sharing information on Elysium‘s look with its VFX providers, working with the Baselight digital colour grading system, and watching the film over and over again.
You can read … Continue reading →
FilmLight at TecnoTelevisión 2013
In association with its local partner, Naska Digital, FilmLight will be demonstrating its entry-level colour grading software and colour management systems at TecnoTelevisión 2013, taking place in Colombia from 31 July – 1 August 2013 (stand 34).
Leading the products … Continue reading →
FilmLight’s Baselight creates look for Pacific Rim
MPI colourist Maxine Gervais uses full range of Baselight tool-set to develop stunning looks for summer blockbuster
Pacific Rim, a Warner Bros. and Legendary Pictures production directed by Guillermo del Toro, has been post produced at Warner Bros. Motion … Continue reading →
Cutting Edge Transforms ‘Gatsby’ into Living Colour
Recent article by Digital Media World further promoting Gatsby and client Cutting Edge –
Cutting Edge carried out the digital intermediate colour grade and traditional film-style opticals for Baz Luhrmann’s ‘The Great Gatsby’. Nine of the facility’s artists worked on … Continue reading →
Gatsby – A Toast to Post
Read all about the epic post-production effort on The Great Gatsby in the latest issue of Content+Technology ANZ.
Adrian Hauser, Senior Digital Intermediate Colourist at Cutting Edge, performed the grade. You can find out more about him and … Continue reading →
dock10 continues to invest in post services with new Baselight TWO grading system
Facility also selects Sony OLED monitor for enhanced viewing
dock10, the MediaCityUK-based media services provider, has purchased a Baselight TWO system for its new colour grading suite. dock10 recently hired renowned colourist Jamie Parry, who has used Baselight systems to … Continue reading →
Mixing it up: Spice Shop get interesting results in project for Fuse condominium
In Asia Image magazine, find out how Spice Shop and Porjai Films get interesting results in a commercial project for Fuse condominium.
This idea behind this commercial is to show how two different elements can combine to create something … Continue reading →
An exercise in precision: Cutting Edge’s Xtreme sport spot for Subaru Japan
In a high energy campaign designed to push the Subaru XV’s sporty features and image, Cutting Edge recently overcame a mountain of creative and technical challenges, including the need to be millimetre perfect from pre-vis to shoot, right through … Continue reading →
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