News Articles
Broadcast: Suite invests in Baselight for 4K HDR work
From Broadcast:
Suite invests in Baselight for 4K HDR workPurchase is part of facility-wide UHD 4K HDR upgrade
Post house Suite TV has upgraded its grading department with a FilmLight Baselight TWO grading suite with a Blackboard … Continue reading →
Considerations when shooting and posting HDR for movies
Daniele Siragusano, Image Engineer, FilmLight
HDR has rapidly moved to the forefront in discussions on how to shoot and post premium content. Movies are increasingly choosing HDR as a second order deliverable and are searching for a suitable archive strategy … Continue reading →
TVB Europe: Adding Colour to The Crown
From TVB Europe:
Molinare’s senior colourist Asa Shoul returned for series two of The Crown. He talks to Jenny Priestley about adding colour to the 1950s and 60s.
FOR THOSE OF US THAT DON’T KNOW, WHAT EXACTLY DOES … Continue reading →
postPerspective: Fear the Walking Dead: Encore colorist teams with DPs for parched look
From postPerspective:
The action of AMC’s zombie-infused Fear the Walking Dead this season is set in a brittle, drought-plagued environment, which becomes progressively more parched as the story unfolds. So when production was about to commence, the show’s principals … Continue reading →
Realising your vision – without drowning in colour science
By James Milne, FilmLight’s Lead Developer on Prelight
Prelight & Prelight ON-SET 4.4m1 are now available. Visit our Web Store to buy or try.
When the industry moved to digital cameras, the temptation was to think that it would be … Continue reading →
Watch now: What is FilmLight showing at NAB2017?
Peter Postma, Managing Director of FilmLight Americas, explains in more depth what you can see on the FilmLight booth at NAB2017.
Fore more information about the benefits of 5.0 everywhere, you can also read our press release.
Lowepost: Base Grade and the Evolution of Grading Tools
From Lowepost:
Base Grade and the Evolution of Grading Tools
WRITTEN BY ANDY MINUTH
The color-grading specialist FilmLight caused a bit of stir in the colorist community at NAB 2016. They introduced Base Grade, a new grading operator for … Continue reading →
postPerspective: Creating the color of Hacksaw Ridge
From postPerspective:
Creating the color of Hacksaw Ridge
Australian colorist Trish Cahill first got involved in the DI on Mel Gibson’s Hacksaw Ridge when cinematographer Simon Duggan enquired about her interest and availability for the film. She didn’t have … Continue reading →
Acclaimed director Ang Lee visits FilmLight at IBC 2016
It was wonderful to have acclaimed director Ang Lee visit the FilmLight stand at IBC on Sunday 11 September, along with Ben Gervais, Production Systems Supervisor on ‘Billy Lynn’s Long Halftime Walk’.
Mr Lee was at IBC to present the … Continue reading →
C+T: DoP Heads Up – From Production to Finish
From C+T:
DoP Heads Up – From Production to Finish
Wolfgang Lempp, CEO and co-founder, FilmLight, reports.
Movies and high quality television programmes are now routinely shot with digital cameras, and completed with a range of extremely powerful post-production … Continue reading →
postPerspective: Encore colorist Laura Jans Fazio goes dark with ‘Mr. Robot’
From postPerspective:
Encore colorist Laura Jans Fazio goes dark with ‘Mr. Robot’
After watching Mr. Robot when it premiered on USA Network last year, I changed all of my computer passwords and added a degree of difficulty that I’m … Continue reading →
Technicolor PostWorks Provides Finishing Services for Oscar-Winning Doc “A Girl in the River”
A Girl in the River: The Price of Forgiveness, winner of this year’s Academy Award® for Best Documentary, Short Subject, recently made its world premiere on HBO. Directed by Sharmeen Obaid-Chinoy (who also won an Oscar® in 2012 of Saving … Continue reading →
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