FilmLight is to stage one of its hugely popular colour tour masterclasses at IBC2018 (RAI Amsterdam) on Sunday 16 September. This intensive day of live presentations and practical discussions is designed to guide colourists, DoPs and the wider production and post industry through the opportunities and challenges that HDR and new delivery formats bring, via demonstrations of the exceptional colour management and finishing toolset in the latest version of FilmLight’s colour grading system, Baselight v5.
Central to the success of the masterclass is the experience and knowledge of leading colourists who will present their individual journeys in colour, as well as the creative hints and tips they have honed over successful careers. At IBC, these will include colourist Maxine Gervais of Technicolor on Alpha, Black Panther and Meg; St Louis’s Sylvain Canaux, a specialist in beauty grading; and Mike Nuget, New York-based freelance colourist on Baselight for Avid – among others.
Each will use recent world-class projects to illustrate how they have addressed the challenges of moving between colour spaces and show the latest grading tools in action as well as practical workflows – from on-set to finishing. Using Baselight v5, delegates will consider how these challenges can be met through a combination of colour science and artistic skills.
Maxine Gervais commented: “I’m excited to be at IBC this year, talking about the most recent projects I’ve been involved with and my journey on them. I’ll be sharing the technical and creative aspects of the colour development and how Baselight helped me achieve these three distinctive looks”.
This is part of a global tour of the masterclass, which has already been staged in Beijing, Hollywood, London, Miami, Mumbai, Seoul, Tokyo and Toronto. The IBC event, as with all stops on the tour, is free to pre-registered participants.
Daniele Siragusano, image engineer at FilmLight and a speaker at many of the previous sessions, explained, “HDR, and the different viewing conditions for projection and television, have increased the number of deliverables exponentially. Without careful management of colour spaces, producers risk a huge cost burden in creating all the different deliverables a movie now requires.
“I will talk about some first principles of natural colours and texture,” he added, “but the emphasis of the day is on how colour science can best be used to support artistic endeavour. That’s why we’ve invited top colourists to share their experiences at the cutting edge, drawing on real experience.”
FilmLight’s IBC2018 Colour Day masterclass will take place in room G109, close to the show floor. Space is limited, so early registration – which is free – is required. More details and the registration form can be found at www.filmlight.ltd.uk/ibc2018colourday. Delegates who cannot devote a full day to the masterclass will be able to choose the sessions that are of primary interest to them.
FilmLight will be demonstrating its full range of colour management technology and its collaborative, render-free, end-to-end workflows at IBC2018 (RAI Amsterdam, 14–18 September) on stand 7.B26.