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In The Press

Professione ‘colorist’, conversazione con Claudio Del Bravo, Frame by Frame

Article courtesy of MonitoR

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Claudio Del Bravo è Senior Colorist e responsabile dei lungometraggi presso lo studio di post produzione Frame by Frame a Roma, Italia. Claudio ha maturato anni di esperienza nella color correction di vari formati tra cui: pubblicità, lungometraggi, film indipendenti, documentari e serie TV…

Camerimage’s FilmLight Colour Awards: ‘Poor Things’ Colourist Greg Fisher Takes Top Prize

Article courtesy of The Hollywood Reporter

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The annual awards ceremony, which was chaired this year by Oscar-nominated cinematographer Mandy Walker, aims to “reflect the cultural, visual and technical values of the international color grading community.”

Shades of success

Article courtesy of Broadcast Pro Middle East

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Fady Melek, a senior colourist with more than 20 years of experience in the film industry, has been at Katara Studios since 2017, where he works on grading feature films and TV shows…

Robert Richardson On Colour

Article courtesy of American Cinematographer

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The cinematographer and FLCA juror shares the insights he’s gleaned over years while working alongside many leading colourists.

Camerimage: FilmLight Colour Awards Winners Announced

Article courtesy of Variety

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The winners of colour grading system developer FilmLight‘s 4th annual Colour Awards were presented Sunday at the EnergaCamerimage international cinematography film festival in Toruń, Poland.

Making light work: the DPs new tool box

Article courtesy of Shots

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The changing face of cinematography is ready for its close-up – from the growth of volume stages to the impact of machine learning. Tim Cumming talks to DP Brett Danton, FilmLight’s Wolfgang Lempp, and Arri Stage London to gauge the state of play.

‘Dune 2,’ ‘Furiosa’ Among FilmLight Colour Award Nominees

Article courtesy of Variety

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Colour grading system developer FilmLight has revealed the nominees for its 4th annual Colour Awards, which are organised with the EnergaCamerimage international cinematography film festival.

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

Article courtesy of Digital Media World

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John Sriram talks about grading Thangalaan in Baselight, bringing colour to the historical drama about workers at India’s Kolar Gold Fields, between real and mythological worlds.

Colouring Bridgerton

Article courtesy of Televisual

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Netflix and Shondaland’s Bridgerton saw season three released in May and June 2024 where it quickly entered Netflix’s official list of all-time most popular English-language TV shows at No. 10, earning 91.9 million views between May 16 and June 30.

The Forge: Shooting and grading director Alex Kendrick’s new feature

Article courtesy of Post

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The Forge was shot in Albany, GA, by cinematographer Bob Scott, and the colour grade was completed by Keith Roush at Roush Media in Atlanta…

FilmLight at IBC with Updated Collaboration Tool Nara

Article courtesy of Post Perspective

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FilmLight’s Nara is offering a new suite of features that further streamline media workflows and enhance collaboration. FilmLight will be giving demos of the latest version of Nara, which provides immediate access to media from anywhere, during IBC 2024.

Behind the look: Toby Tomkins, Benedict Spence on Eric

Article courtesy of Televisual

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The series, directed by Lucy Forbes, was shot by cinematographer Benedict Spence and graded by senior colourist and founder of Harbor’s CHEAT in the UK, Toby Tomkins.

Press Contact

We’re always happy to promote our customers’ work. Whether it’s a press release or a case study, contact:

Caroline Shawley
e: [email protected]

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