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Cem Ozkilicci Puts FilmLight’s Baselight v7 to the Test

Independent colourist Cem Ozkilicci took part in FilmLight’s Baselight v7 beta, putting new features like Transform Matching, Depth Keyer and Segment Anything through real‑world tasks.

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Cem Ozkilicci Puts FilmLight’s Baselight v7 to the Test

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Studio Hamburg Builds a New ‘Red Roses’ Post Pipeline on DaVinci Resolve

Studio Hamburg has now moved its picture and audio post production pipeline in-house, using DaVinci Resolve Studio to replace legacy tools and outsourced services with a unified workflow.

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Blackmagic Cintel Rediscovers Looks and Stories in Classic Films at Anónima Post

Anónima Post uses a Cintel Film scanner and DaVinci Resolve Studio to design and manage the complex workflows their team uses to restore films more than 50 years old.

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WeMakeColor Becomes Hybrid Baselight and DaVinci Resolve Grading Facility

Colour grading studio WeMakeColor in Mexico integrated Baselight alongside DaVinci Resolve, allowing the team to customise its approach to creative and technical demands of each project.

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EIZO’s 31.5-inch 4K Monitor Supports Consistent, Precise Colour Workflows

The new EIZO CS3200X combines capabilities for diverse workflows, supporting videographers, photographers, designers and other visual storytellers who rely on accurate, predictable colour.

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Colorfront Builds On AI/Automation Tools, Dolby and Apple Collaborations

Colorfront introduces new AI, automation and usability features into Transkoder 2026 mastering and transcoding software, and extends Dolby Vision and Apple Immersive workflows

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DaVinci Resolve Studio Gives a Polished Colour Grade to Sci-Fi Thriller Kraken

Colourist Dylan Hopkin talks about using DaVinci Resolve Studio’s VFX, HDR and AI-driven tools to balance human drama with creature horror in the Norwegian sci-fi thriller ‘Kraken’.

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Vicki Matich on Colour Grading for Authenticity in TV and Film

A colourist of 20 years, Vicki Matich sees many trends influencing looks in film and TV. Today, she says, filmmakers favour subdued, restrained colour grading over bold, overtly stylised looks

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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.

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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.

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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.

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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.

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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