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Workshops & Presentations

NAB2019
NAB2019: Andrea Chlebak

NAB2019: Andrea Chlebak, Senior Colourist, Deluxe Entertainment Services (Encore Hollywood and EFilm)

Andrea Chlebak is a senior colourist at Deluxe Entertainment Services (Encore Hollywood and EFilm), handling features, episodics and documentaries. Her recent credits include award-winning indie productions Mandy and Prospect, Neill Blomkamp’s Elysium and Chappie.

In this video, Andrea talks about how she works with directors and cinematographers to enhance the narrative through colour.

NAB2019 Replay

NAB2019 Replay

A short video showing what we were demonstrating on the show floor at NAB2019 - including the next generation grading tools in Baselight 5.2 and the upcoming 5.3 release, a first look at the new FilmLight API (allowing advanced automation for managing media and Baselight scenes using Python, Javascript or Java), and the debut of the Blackboard Classic panel.

Camerimage 2018
Camerimage 2018

Session One: Post-production for Cinematographers – From Camera to Display

What processes impact the image on its journey from camera to mastering display? Digital post-production is a complex process, similar to the chemical process of emulsion film.

In this session, Senior Colourist and FilmLight Colour Workflow Specialist Andy Minuth explains the impact of digital image acquisition and the important image processing steps involved in post-production. He shares a transparent view on spatial processes like demosaicing and sharpening, as well as colour management involving colour and rendering transforms.

The aim of this talk is to help increase your natural intuition of the image processing pipeline in post. It will help you to identify errors and find the best settings for your project.

Camerimage 2018

Session Two: Natural Colours & Texture | A View on Colours & Texture in Painting

Part A: Natural Colours & Texture

How can we achieve cinematic images with preferred colour and contrast modulation in times of super-sharp, wide gamut cameras and displays?

In the first part of this session, FilmLight Image Engineer Daniele Siragusano focuses on the first principles of natural colours and texture including the fundamental differences between the real world and modern HDR wide gamut image reproduction. From there, a road map is outlined towards cinematic experience in digital cinema and television. He also presents new creative tools that help to bring back naturalism to digital images.

Part B: A View on Colours & Texture in Painting

How did the grand masters of painting use light, colour and texture in their extraordinary work?

In the second part of the session, cinematographer Rolf Coulanges (BVK) shows some results of how his extensive study of the grand masters’ painting has impacted his work today. With many beautiful examples, he demonstrates how colour and texture form an image.

IBC2018
IBC2018 Colour Day

IBC2018 Colour Day: Daniele Siragusano, Image Engineer, FilmLight (Part 1)

A key speaker at many of the masterclasses that have formed the FilmLight global colour tour, here Daniele will focus more on the first principles of natural colours and texture including the fundamental differences between the real world and modern HDR wide gamut image reproduction. Part 2 (coming soon) gets deeper into the management of colour spaces and completes a day where colourists have shared their craft drawing on real experience.

IBC2018 Colour Day

IBC2018 Colour Day: Maxine Gervais, Senior Supervising Colourist, Technicolor, LA

Renowned colourist Maxine Gervais worked on this year’s commercial and critical Marvel Studios hit, Black Panther, sci-fi feature The Meg, and most recently Sony Pictures’ Alpha, set in the Ice Age.

In this exclusive session, Maxine shares the technical and creative aspects of the colour development on these three projects, working with acclaimed cinematographers, directors and VFX teams. She shows how Baselight X helped her achieve these three distinctive looks.

IBC2018 Colour Day

IBC2018 Colour Day: Sylvain Canaux, Colourist, St Louis, Paris

A native Parisian, Sylvain Canaux started his career at post house St Louis where he quickly gained recognition for his work on beauty grading for high end commercials and photographers, such as Chanel, Yves St Laurent & Dior.

Using Baselight v5, Sylvain illustrates the challenges of moving between colour spaces and showed how these challenges can be met through a combination of colour science and artistic skills.

IBC2018 Colour Day

IBC2018 Colour Day: Mike Nuget, Freelance Colourist/Editor, New York City

Initially a member of the Technicolor-PostWorks team, Mike Nuget recently branched out on his own, and he has been applying his skills in colour grading, editorial finishing, and visual effects to film, TV and documentaries.

Mike shares his recent experiences live using the new Baselight 5 for Avid tools, with a focus on Base Grade, Texture Equaliser, Boost Contrast, and other new features.

International Cinematography Days 2018
International Cinematography Days 2018

From Photons captured by a Camera to Photons emitted by a Display

In this seminar, FilmLight's Daniele Siragusano provided a full and complete picture of how data acquired by a camera is recorded, manipulated, finally interpreted and prepared to be viewed by the audience. Several fundamental concepts were explained:

  • Camera profiling: the principles of camera encoding and operations.
  • A novel way to think about exposing a camera.
  • Different colour grading styles and their heritage.
  • Colour appearance modeling and preferred colour reproduction.
  • Base Grade: a photographic approach to colour grading.
International Cinematography Days 2018

Managing Colour in a Multi-Delivery Production

In this seminar, Daniele discussed future-proof colour management strategies optimised for multi-delivery (SDR and HDR). First, fundamental differences in display characteristics between HDR and SDR Displays were reviewed from a technical and creative standpoint. Based on those findings, the major HDR distribution standards were examined from a conceptual standpoint. Finally, a distribution agnostic post-production colour workflow, and an outlook on future work, were presented.

 

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