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TVBEurope: Colour My World

From TVBEuropeColour My World Jenny Priestley visits boutique visual effects facility Youngster to find out how their colourist and creative artists are using FilmLight’s Baselight to colour grade content. “We can email BLGs around to your heart’s content… Continue reading →
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American Cinematographer: Back in Time – Making ‘Once Upon a Time… in Hollywood’

From American CinematographerBack in Time: Making ‘Once Upon a Time… in Hollywood’ Robert Richardson, ASC and a number of his collaborators — including renowned colourist Yvan Lucas — discuss their approach to writer-director Quentin Tarantino’s period tale of Continue reading →
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Cannes Film Festival 2019 & Baselight

Congratulations to the winners of this year’s Cannes Film Festival. Eight of the movies in competition were finished on Baselight, among them the winner of the Palme D’or, Joon-ho Bong’s Parasite graded by Kevin Kang at Dexter The Eye, and… Continue reading →
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Camera & Light: ARRI Academy HDR Master Class

In Camera & Light magazine, you can read about the ARRI Academy HDR master class at the San Sebastián Film Festival… “Within the 66th internationalSan Sebastián Film Festival, an event organised by ARRI/VCI and FilmLight was held, dedicated to Continue reading →
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New videos – International Cinematography Days, Stuttgart, March 2018

Daniele Siragusano, Image Engineer at FilmLight, presented two seminars at the International Cinematography Days in Stuttgart earlier this year. Watch below, or go to Tutorials > Truelight Colour Spaces for these videos and more. From Photons captured by a Camera Continue reading →
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Broadcast: Suite invests in Baselight for 4K HDR work

From Broadcast:  Suite invests in Baselight for 4K HDR work Purchase 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 →
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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 →
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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 →
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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 →
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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 →
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