News Articles

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 →

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 →

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 →

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 →

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 →

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 →

Another great article on the restoration of Richard III, the 1955 film adaptation of the Shakespearean play directed by Laurence Olivier.

The exhaustive project was finished by Colorworks, Sony Pictures’ digital intermediate facility, with grading, conforming, DCP mastering … Continue reading →

This year’s Camera D’Or prize at Cannes went to the film Ilo Ilo, directed by Anthony Chen. It’s the first Singaporean film to win a major award at the Cannes Film Festival, and it was graded on Baselight TWO … Continue reading →

Filmworkers and Vitamin recently provided visual effects and post-production services for a new, national spot about a family of vampires who learn to love mornings thanks to Kellogg’s Nutri-Grain. Colour grading was performed in Baselight, giving the spot a … Continue reading →

Find out how Colorworks, Sony Pictures’ digital intermediate facility, finished an exhaustive restoration Richard III, the 1955 film adaptation of the Shakespearean play directed by Laurence Olivier.

Grading, conforming, DCP mastering and Blu-ray mastering were completed on a … Continue reading →

“The move is part of our progressive growth for 2013; our investment into Shanghai with a superior product like Baselight is to offer something different in the market. To deliver incredible fast performance on demanding commercials, the ability to … Continue reading →

Mark Burton discusses colour management and the transformation in workflows in the latest edition of In Broadcast.

“With today’s high-resolution digital cameras consistency is not the issue, but directors and DoPs still see colour grading as a critical part … Continue reading →