Post

facebook

Designed with ❤ by jsns.eu

Park Jin-ho Pulls a Story from Colour and Contrast in 'No Other Choice'

Park Jin-ho talks about grading No Other Choice on Baselight with the director and DP, who wanted to convey the story and emotions not only through images, but by using colour itself.

Post

Park Jin-ho Pulls a Story from Colour and Contrast in 'No Other Choice'

Post

Baselight v7 Arrives with Smarter Mattes, Faster Workflows and Closer Control

Baselight v7 gives special attention to VFX- and detail-heavy productions with machine-learning tools, redesigned matte and channel workflows, and performance and pipeline improvements.

Post

Limecraft Cloud Platform Delivers Live Set Feedback and Multi-Cam AAF Export

Limecraft 2025.8 strengthens daily workflows across production and post of live shows by prioritising user control, real-time insight and efficiency in editorial handovers.

Post

BlueBolt Adds Ben White As VFX Supervisor

Independent visual effects studio BlueBolt announces the appointment of award-winning, veteran VFX Supervisor Ben White, further strengthening the studio's senior creative team.

Post

RTS Migrates Grading Suites to Resolve, Balancing Overhead with IT Innovation

RTS constantly balances innovation efforts with value for money, combined with IT requirements for standardisation and infrastructure for centralised updates

Post

Colorfront’s Reference-Grade Remote Reviews Perfect Colour Workflows

Head of colour Science at Harbor Matthew Tomlinson talks about using Colorfront Streaming Server to gain creative confidence. With extensive technical and creative expertise, Matthew Tomlinson is the head of colour science at Harbor, where he services projects by ensuring colour…

Post

Phantom Media Group Launches to Unite VFX and Animation Talent

Phantom Digital Eﬀects consolidated its studios into a global creative collective called Phantom Media Group, after the recent addition of Milk and Lola Post to the Group’s roster.

Post

ARTONE FILM Integrates Baselight M to Elevate Mac-based Colour Workflow

ARTONE post-house in Tokyo is the first facility in Japan to integrate Baselight M, choosing its precise look development controls to help create natural-looking images in a visual way.

Post

Nara’s Real-Time Media Access and Collaboration Unifies Harbor’s Global Studios

Harbor post integrated Nara across global facilities to enhance infrastructure, support real-time collaboration and give producers, artists and engineers fast access to media across locations.

Post

Maxon One Opens Creative Options For VFX, Motion Graphics and 3D Modelling

Maxon One 2025 accelerates and simplifies workflows by easing technical barriers, opening new creative options for VFX, motion graphics and 3D modelling artists. It addresses new trends in sculpting, rendering, editing and animation.

Post

Colourist Sam Chynoweth Walks the Line from Memory to Life for Black Mirror

In the last of a 3-part series, senior colourist Sam Chynoweth at The Farm talks about grading the most recent season of ‘Black Mirror’, delivering an independent look for each episode.

Post

Colourist Sam Chynoweth Recreates Looks from the Past for Black Mirror Series 7

In this 3-part series, senior colourist Sam Chynoweth at The Farm talks about grading the most recent season of ‘Black Mirror’, delivering an independent look for each episode.

Post

EngineLab and AWS Support Studios on the Way to Cloud-Based Production

EngineLab works with Amazon Web Services (AWS) to help creative teams manage the time and resources needed to build cloud workflows for projects.

Colourist Sam Chynoweth Creates a Look in the Mirror for Black Mirror Season 7

In the first of a 3-part series, senior colourist Sam Chynoweth at The Farm talks about grading the most recent season of ‘Black Mirror’,…

FilmLight Looks Back on 2024 Award Winners

The FilmLight Colour Awards draw attention to the artistry and technical precision of colourists who bring the magic of colour to projects…

FilmLight’s Daniele Siragusano Looks into the Future of Colour in Filmmaking

Image engineer Daniele Siragusano talks about integrating ML and AI into Baselight, aiming to improve control and efficiency for…

Molinare Chooses Nara to Enhance Efficiency in Post-Production Pipelines

Nara gives fast, secure access to media in any format at any of Molinare’s locations – for both staff and clients – and will soon be used…

Founder Rob Harvey on Taking Risks, VFX and Life at Lola Post

Rob Harvey, founder, Creative Director and award-winning VFX Supervisor at Lola Post Production, talks about building, growing and…

Colorfront Shows HDR Cinema Mastering Tools at CineEurope 2025

Colorfront demonstrated mastering workflows with its own HDR Cinema Tools alongside HDR projection systems from Christie and Barco,…

Squid Game Season 2 Takes Another Chance at Colour, Drama and Life

DoP Kim Ji-yong and Colourist Park Jin Young talk about working together on season 2 of ‘Squid Game’, shot on ALEXA 35, using light, colour…

DaVinci Resolve Brings New Zealand’s 'Shortland Street' into the Streaming Era

Adopting Resolve means long-running drama Shortland Street has a modern new look, and its post team can keep the entire workflow in one…

Colourist Tom Cairns Builds Looks and Stories with Brick and Mortar

Colourist Tom Cairns talks about launching Brick and Mortar, his new post facility in Glasgow, and installing Baselight grading suites and…

DaVinci Resolve Studio Takes an Editorial Role on Anime Feature ‘Look Back’

Film editor Kiyoshi Hirose talks through the special case of editing anime productions, and how DaVinci Resolve and Blackmagic Cloud can…

Nara’s Updates Enhance Efficiency, Security and Speed in Post Workflows

Nara shows new features at MPTS including analytics tools, real-time transcoding capabilities, a smart project management feature, plus…

Filmmakers Find the Colour of ‘Dreams’ in Baselight 6’s New Tools

Colourist Christian Wieberg-Nielsen talks about techniques, discussions and Baselight 6 tools that led to a very specific look as he, the…

Maxon One Speeds Up 3D and Animation, Design and Post Workflows

Maxon One’s most recent set of updates introduces new features and tools to ZBrush for desktop and iPad, Red Giant, Maxon Studio, Cinema…

DaVinci Resolve 20 Upgrades with AI-Driven Tools, Audio and Cloud Innovation

DaVinci Resolve 20 has over 100 new features and AI-supported tools for filmmakers, editors and colourists working in video editing and…

DaVinci Resolve Edits and Grades Vibrant Fantasy in ‘Rains Over Babel’

‘Rains Over Babel’ relies on timing, rhythm and structure to tell its story. Two editors and a colourist collaborated in DaVinci Resolve to…

Avid Expands its Executive Leadership Team

Avid has expanded its executive leadership team with the appointment of three experienced executives - Tom Sharma, Dominic Constandi and…

FilmLight Baselight Software is Now Ready to Run on macOS Systems

FilmLight makes two new versions of Baselight grading software available that run on user-supplied Apple macOS systems, with all features…

Harbor Upgrades UK Advertising and LA Studio with Top New Hires

Harbor Picture Company has appointed new artists to the leadership team of its London Advertising VFX division, and appointed Paul Yacono…

‘The Brutalist’ Under the Skin – Post Workflows with Signiant Media Shuttle

Editor David Jancso talks about the mechanics of major film productions like 'The Brutalist', when volumes of large file transfers and…

Harbor to Join the Avant-garde with Colourist Karim El Katari from France

Harbor has signed Karim El Katari, a French colourist from Paris whose work is known for avant-garde vision and ability to elevate…

Innervision Selects Sony Projector for Cinema Colour Grading Suite

Innervision purchased Sony’s VPL-GTZ380 projector, making a complete a range of colour grading services available both for cinema screens…

Light Iron Integrates Nara for Secure, Efficient Post Workflows

Light Iron uses Nara to handle file navigation, content streaming and information sharing workflow efficient through a single, secure…

Douglas Delaney Joins Light Iron as Supervising Colourist

Light Iron, the post-production creative-services division of Panavision, has hired Douglas Delaney to the company's artist roster as a…

Creating a Supernatural Colour Grade for ‘Salt Along the Tongue’

Colourist Daniel Pardy talks about building a working LUT for this film with a distinctive 16mm film look, helping the production make…

FilmLight REMOTE Delivers High-Quality, Low-Latency Remote Grading

FilmLight REMOTE, dedicated software for remote colour grading gives post teams the infrastructure to work remotely without sacrificing the…

Avid Brings Post and Collaboration to Life at Renegade Animation

At Renegade Animation studio, Avid’s Media Composer NLE and NEXIS production storage are a robust, reliable editing system for episodic…

Adobe Saves Time with Updates in Premiere Pro, After Effects and Frame.io

Adobe Premiere Pro (beta), After Effects (beta) and Frame.io have a new set of updates that focus on saving time on everyday tasks – from…

RE:Vision Effects Twixtor Frame-Rate Conversion Plug-ins Are Now Standalone

RE:Vision Effects’ Twixtor time frame manipulation plug-ins, used to convert frame rates and add slow or fast motion effects to videos, are…

Defining the Real Gotham City in Colour and Light for ‘The Penguin’

Pankaj Bajpai talks about grading the HBO crime thriller series ‘The Penguin’ on Baselight, bringing the look and feel of the movie ‘The…

Leostream and CineSys Enable Hybrid Post at Republic Creative Studios

Republic studios deployed Leostream’s Remote Desktop Access Platform as a remote technical infrastructure supporting high-performance…

Light Iron Chooses Nara to Unify Media Access, Streaming and Indexing

Light Iron uses Nara for file navigation, content streaming and information sharing through a single, secure interface to help them…

Aidan Stanford Brings Colour to 'Interior Chinatown' in DaVinci Resolve Studio

Colourist Aidan Stanford at ArsenalFX Color created and managed a complex grade with distinct looks, transitions and effects in Davinci…

Molinare’s Ross Baker Brings a Love of Colour to Television and Film

Ross Baker, senior colourist and head of grading at Molinare in London, talks about building his career from telecine departments to…

ORION-CONVERT Pipeline and AJA ColorBox Simplify Colour for Live Productions

Cromorama’s ORION-CONVERT Pipeline for colour management and QC helps live video producers control looks and manage a diverse range of HDR…

Molinare Welcomes Carlotta Rio to its Colourist Team

Carlotta Rio joins Molinare as Senior Colourist, bringing extensive experience across high-end documentary and episodic scripted projects.

Deidre McClelland Finishes and Grades Memoir of a Snail in DaVinci Resolve

Deidre McClelland, CSI, worked with animator Adam Elliot in Resolve Studio to produce the deliverables and develop looks capturing the…

Harbor Expands with Dedicated Dailies Facility at Shepperton Studios

Harbor has opened a new dedicated dailies facility at Shepperton Studios, purpose-built with a HDR grading and screening room, furthering…

Light Iron Welcomes Andrew Geary as Senior Colourist

Light Iron announces that Andrew Geary has joined the company as Senior Colourist, further strengthening the company's top-level team of…

Framefloor Builds Creative Post Workflows on AJA Gear

Framefloor’s team uses AJA’s Io 4K Plus hardware to ingest, work with and output a huge range of formats over 12G-SDI and HDMI for their…

DaVinci Resolve and Fusion 19.1 Update Multi-cam, Audio and VFX Workflows

DaVinci Resolve and Fusion Studio 19.1 include features to speed up and improve control over post workflows with better object mask…

Colourist Claudio Del Bravo Masters Colour and Light, Frame by Frame

Colourist Claudio Del Bravo talks about growing his career, building a studio in Rome from the ground up, and creating looks for projects…

Colour Grade in DaVinci Resolve Studio Tells a Civil War Story in The Damned

Colourist Natalia Raguseo talks about the tools she used in Resolve to build the look from the natural lighting and landscapes recorded on…

Wounded Buffalo Studio Specialises in Natural History Soundscapes on Avid

The team at Wounded Buffalo Sound, known for natural history audio production, talk about using the right gear to stay at the top of an…

Blackmagic Cloud Collaborative Workflow Brings RKM Studios’ Vision to the Screen

RKM Studios designed a collaborative workflow based on Blackmagic Cloud that kept all aspects of their music video project underway…

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

John Sriram talks about grading Thangalaan in Baselight, bringing colour to the historical drama about workers at India’s Kolar Gold…

Preymaker Opens Cape Town Studio, Launches Recruitment and Scholarship

Creative + Technology studio Preymaker has announced the opening of a new studio in Cape Town, SA. They are actively recruiting artists and…

MPC and Mikros Animation Welcome Senior Technology Officer Doug Bloom

MPC and Mikros Animation have appointed Doug Bloom as Senior Technology Officer, bringing over 25 years experience in VFX, animation,…

Colourist Pankaj Bajpai Changes the Colour of Historical Drama for ‘Bridgerton’

Pankaj Bajpai at Picture Shop talks about grading and creating looks for Netflix’s ‘Bridgerton’ using Baselight to create onset LUTs and…

Adobe Updates Premiere Pro Colour Management and After Effects 3D Workspace

Adobe’s Premiere Pro (beta) upgrade helps editors meet new demands for colour management; After Effects adds tools that blend 3D objects…

Moments Lab Adds AI-Powered Content Discovery to Adobe Premiere Pro

The Premiere Plugin synchronises Premiere Pro’s project panel bin with Moments Lab's Hub, making their MXT-1.5 multimodal AI engine for…

FilmLight Nara Simplifies Access to Data and Project Management

FilmLight’s new version of Nara, software for post workflows, is coming to IBC with streaming features for data and file access, project…

DaVinci Resolve Studio and Blackmagic Cloud Solve 4K Picture Post at BSQUARED

BSQUARED post studio make flexibility, collaboration and top quality work their priorities, using DaVinci Resolve with Blackmagic Cloud and…

José Francisco Neto Unravels the Colourist’s Role at FilmLight Colour Awards

José Francisco Neto talks about his 30-year career, what it means to work as a colourist today and tomorrow, and why he’s looking forward…

Sony BVM-HX3110 Reference Monitor Keeps Arsenal FX Color Ahead in Post

Arsenal chose the 4K Sony BVM-HX3110 to work alongside their fleet of BVM-HX310 monitors, pleased with the colour rendition, improved…

Colour and Cinematography Push Time and Place on TV Series Eric

Colourist Toby Tomkins and cinematographer Benedict Spence talk about creating the look for TV series ‘Eric’, shooting on ALEXA 35 and…

EditShare Wiredrive Keeps Stories on Track at Offroad Films

Offroad Films uses Wiredrive cloud media-sharing service to create and present showreels and pitch reels to clients and as a centralised…

Tim Belcher Joins Light Iron as New Managing Director

Light Iron, the post-production creative-services division of Panavision, has named industry veteran Tim Belcher the company’s new Managing…

Cinematographer Mandy Walker to Judge at FilmLight Colour Awards

Australian cinematographer Mandy Walker, a judge in the 2024 FilmLight Colour Awards, says she’ll be looking for colour that works with the…

Elodie Ichter Builds a Look from History on Baselight for FX’s ‘Shōgun’

TV series ‘Shōgun’ was graded remotely at The Mill by colourist Elodie Ichter. With creative freedom to create a look entirely from…

Finding the Perfect Finish for 'Furiosa: A Mad Max Saga'

Colourist Eric Whipp talks about working remotely with his team between LA, Toronto and Sydney to build the looks on Baselight that tell…

Company 3 and Baselight Align on the Colour Grade for ‘The Gentlemen’

Colourists Jean-Clément Soret and Matthieu Toullet talk about grading the series with the DoPs on Baselight, from continuity challenges to…

Dimension Studio Receives Major Investment to Support International Expansion

Dimension virtual production studio receives investment from Growth Catalyst Partners with the goal of extending the potential of virtual…

Reaktor Post Grades ‘Érase Una Vez En El Caribe’ on Baselight 6.0

Colourist Edgar Lebron took up FilmLight’s offer to work with Baselight 6.0 on Puerto Rican film 'Once Upon a Time in the Caribbean',…

DaVinci Resolve Studio Tames the Colour Grade for ‘Godzilla Minus One’

Colourist Masahiro Ishiyama of ARTONE FILM completed the colour grade on Blackmagic Resolve with Director Takashi Yamazaki on his…

Preymaker Welcomes Colourist Mark Sanna to its Creative Team

Creative studio Preymaker has hired colourist Mark Sanna, who will be available to collaborate in person as well as to host colour sessions…

Dirty Looks Bring Authenticity to 'The Zone of Interest' with Naturalistic Colour

Colourist Gareth Bishop talks about working with Baselight and director Jonathan Glazer to create a contemporary look for this film,…

Harbor UK Appoints Thom Berryman as Managing Director, Feature & Episodic

Harbor production studio has appointed Thom Berryman as UK Managing Director for Feature and Episodic. Prior to Harbor, Thom held a tenure…

zweiB Upgrades to R&S CLIPSTER 6 MK 2 for Precise, Consistent Mastering

zweiB post, a specialist in deliverables for cinema, events and trade shows extended its long partnership with Rohde & Schwarz, moving up…

Élodie Ichter Joins Light Iron as Senior Colourist

Light Iron, the post-production creative-services division of Panavision, is pleased to announce that Élodie Ichter has joined the…

Adobe Brings Major Updates to Frame.io, Firefly, Photoshop at NAB, Adobe MAX

At NAB and Adobe MAX London, Adobe showed updates, new integrations and AI functionality for Frame.io and Photoshop, including the new…

Colorfront Brings Dolby Vision, AI and New Colorfront Engine Features to NAB

NAB Colorfront showed new Dolby Vision mastering features, AI tools accelerating QC and the new version of Colorfront Engine supporting…

FilmLight Nara Connects Creative Teams with Native Media Decodes and Playback

NAB FilmLight’s new Nara software gives post-production facilities, VFX houses and other media professionals immediate access to media from…

Blackmagic DaVinci Resolve 19 Updates Colour, VFX, Editorial, Sound Workflows

NAB Resolve 19 update adds DaVinci Neural Engine AI tools, colour grading palettes, Fusion FX, Fairlight 3D audio panning, new rotoscoping…

Swank Motion Pictures Enlists Interra BATON for Automated Quality Control

Interra Systems’ BATON AI/ML-enabled QC platform and BATON Media Player automate QC and compliance at Swank Motion Pictures to improve…

Rose Hancock Joins Axis Studios as VFX Executive Producer

Axis Studios animation and visual effects company is proud to announce the appointment of Rose Hancock as Executive Producer within its VFX…

Rodeo FX Adds Colour Grading with Baselight, Hires Ana Ecorse

Rodeo FX, known best for VFX, animation and post, has expanded into colour grading by opening a new Baselight grading suite and hiring…

Maxine Gervais Joins Harbor as Senior Colourist

Post studio Harbor hired Maxine Gervais as Senior Colourist, bringing a wealth of experience and an illustrious career working on over 50…

Matchbox Pictures Chooses Avid Edit On Demand for Cloud Production Services

To post produce a reality TV series, Matchbox Pictures adopted Avid’s Edit On Demand remote editing system with NEXIS storage for a team of…

424 Post and Harbor Unite to Launch HDR Theatrical Post Studio

LA sound studio 424 Post and post studio Harbor have entered into a collaboration launching Culver Post, a full-service post-production…

Picture Shop’s Mark Kueper Uses DaVinci Resolve Studio to Capture Billy the Kid

Mark Kueper graded both seasons of Billy the Kid in DaVinci Resolve, taking the look from Canada’s lush green spring to arid New Mexico,…

DaVinci Resolve Studio Handles Complete Picture Finishing for BBC Series ‘Vigil'

Blazing Griffin Post’s team in Glasgow returned for post production of ‘Vigil’ season 2, delivering all aspects of picture finishing in 4K…

DFT Scanity 4K Film Scanner Participates in Digitisation Initiative at Poland’s FINA

The DFT Scanity 4K Scanner, with a WetGate system, contributes to digitising, restoring and promoting Polish audiovisual heritage at FINA,…

Baselight v6.0 Opens the World of Machine Learning to Colourists

FilmLight’s Martin Tlaskal talks about the growing importance of machine learning in post-production today, and introduces Face Track…

Picture Shop Names Rachel Faith Hanson as Executive Producer of VFX

Picture Shop has named Rachel Faith Hanson executive producer of visual effects, with over 20 years of industry experience throughout the…

Option Media Integrates Audio/Video Post Workflows with Resolve Studio

Option Media overhauled its legacy systems and now operates seven studios, adopting DaVinci Resolve Studio for both audio post and picture…

FilmLight Colour Awards Winners Share Tips, Insights and Stories

The winners of the 2023 FilmLight Colour Awards talk about their projects and their very different creative and practical approaches to…

Qumulo Puts PFX in Control of Studio Storage Capacity, Performance and Scale

Martin Polak at PFX post facility in Prague talks about adopting the Qumulo File Data Platform to manage and centralise the massive file…

Signiant Makes Complex File Movement Simple and Fast at Blazing Griffin

Media Shuttle simplifies production, post and distribution workflows at Blazing Griffin, ensuring accuracy and timeliness of file delivery,…

Fusion Studio Makes a Smart Option for Compositing in 'Dumb Money'

VFX Supervisor Sam O’Hare led four VFX teams to deliver over 500 shots for ‘Dumb Money’, using Fusion to design super efficient scripts for…

Sony Ci Media Cloud Introduces New Business Tier, Transfer App, Dolby Atmos Support

Sony’s Ci Media Cloud media management now features a subscription Tier for small to medium businesses, a desktop file transfer app and…

Baselight Colour Grade Brings Cinematic Realism to ‘A Piece of Sky’

Timo Inderfurth graded A Piece of Sky, Best Film award winner at the 2023 Swiss Film Awards, on Baselight, playing a central role in the…

DaVinci Resolve and Blackmagic Cloud Support Frida’s Remote Post Workflow

Image Workflow Supervisor Ernie Schaeffer used DaVinci Resolve Studio and Blackmagic Cloud as the main DI processing tools for most of the…

Adobe Visualises a New Audio Editing Workflow for Premiere Pro

Adobe added new audio tools, now in beta, to the Premiere Pro timeline to speed up editing, including interactive fade handles on clips and…

Colourist Sean Dunckley Joins Goldcrest Post's Senior Creative Team

Sean Dunckley joined the creative team at Goldcrest Post as Senior Colourist, bringing experience from more than 130 credits spanning…

Supervising Colourist Peter Doyle Joins Picture Shop

Picture Shop has hired Supervising Colourist Peter Doyle to join its roster of artists. His 25 years of experience include work on films…

Eurotape Media Upgrades R&S Clipster and Storage Network for Faster Mastering

Eurotape Media manages, processes and delivers large, high resolution files under tight deadlines. Their Clipster and SpycerNode…

Sonny Sheridan Lives a Life for Colour

Senior colourist Sonny Sheridan talks about his career as a colourist over the past decades – from projects to influences and tools – and…

Federal German Archives Invests in Film Digitisation Expertise from DFT

Germany’s National Film Archive has installed a film digitisation facility in Berlin that centres on six DFT film scanners specialised in…

Life in Six Strings Stays in Tune with Hangman and DaVinci Resolve Studio

James Tonkin talks about shooting and producing this series of interviews with famous guitarists, using DaVinci Resolve Studio and…

Baselight 6.0 Adds New Colour Space, AL/ML Tools, Look Dev for Colourists

FilmLight’s Baselight 6.0 includes an updated timeline, new primary grading tool X Grade, the new Chromogen look development tool, plus…