News
NEW Fiilex Q10 - 900W Full-colour Water Resistant Fresnel Posted: 26/01/2022
NEW  Fiilex Q10 - 900W Full-colour Water Resistant Fresnel

The Q10 COLOR is a powerful 900W Color LED Fresnel that floods and spots from 70 to 11 degrees. Like all the other Fiilex Color Fresnels, this offers more than 50 different operating modes, including the Tunable CCT (2000K to 10000K) and RGBW modes to the more advanced Gels and Effects modes, for users to choose.

Tags: Fiilex | Q10 | Color | Colour | LED | Gels | dense Matrix | wireless | intergrated | VAC | VDC
Submitted by Cirro Lite (Europe) Ltd
More from this author
Overwhelming response to FilmLight Colour Awards Posted: 12/10/2021
Overwhelming response to FilmLight Colour Awards

The first-ever FilmLight Colour Awards has received an enthusiastic welcome from professionals across the imaging industry.

While the awards programme has been initiated by FilmLight, the awards are platform-agnostic and open to users of any grading system, from juniors to veterans, independents or those representing large global facilities.

Tags: FilmLight | Colour Awards | EnergaCAMERIMAGE | Jacqueline Loran | creative | imaging | colour grading | colourist | Eben Bolter | Jet Omoshebi | Beatriz Pineda | judging | winners | global | MKM Marcomms | MKM Marketing Communications | Bradford Young | Danny Cohen
Submitted by MKM Marketing Communications
More from this author
Hedge Secures Seed Funding, Invests in New Era of Video Workflows Posted: 28/07/2021
Hedge Secures Seed Funding, Invests in New Era of Video Workflows

Hedge, the creator of modern, intelligent software solutions for video professionals, announced it has closed a $3M round of seed funding led by Steve Bayes in participation with other private media industry investors. Hedge will use the investment to grow its team, and expand its media technology portfolio and capabilities through the acquisition of Divergent Media assets and investment in Colourlab. The financial transactions coincide with three strategic advisor appointments to help take the company through its next stage of growth: investor Steve Bayes, industry executive Estelle McGechie, and noted filmmaker Robin Moran.

Tags: Hedge | Colourlab
Submitted by Zazil Media Group
More from this author
FilmLight launches global Colour Awards Posted: 04/06/2021
FilmLight launches global Colour Awards

FilmLight, the leader in colour management technology, has announced a new programme of awards which will honour colourists and the art of colour worldwide. The awards are being organised in association with professional bodies and are open to colourists using any grading technology, with the winners announced at EnergaCAMERIMAGE 2021 in Poland.

Tags: FilmLight | Colour Awards | colourist | colorist | art of colour | awards programme | summer | colour management | worldwide | grading | technology | EnergaCAMERIMAGE | Wolfgang Lempp | creative | collaboration | creative forces | MKM Marcomms | MKM Marketing Communications
Submitted by MKM Marketing Communications
More from this author
Colourlab Ai Set to Revolutionize Color Grading with Power of Artificial Intelligence Posted: 08/09/2020
Colourlab Ai Set to Revolutionize Color Grading with Power of Artificial Intelligence

Today, Hollywood-based Color Intelligence is unveiling Colourlab Ai, a new color grading system that is poised to dramatically improve the process of color correction thanks to Artificial Intelligence. Founded by color scientist Dado Valentic and industry veterans Mark L. Pederson and Steve Bayes, Color Intelligence has established itself as a high-end image processing consultancy. It has been working with Warner Brothers, HBO, Netflix, NBC Universal, and CBS on advanced HDR color pipelines and providing specialized color grading plug-ins for look design and creation.

Tags: Colourlab Ai
Submitted by Zazil Media Group
More from this author
Side Street Post and VFX opts for GB Labs SPACE SSD Posted: 03/09/2020
Side Street Post and VFX opts for GB Labs SPACE SSD

GB Labs, innovators of powerful and intelligent storage solutions for the media and entertainment industries, today announced that Side Street Post and VFX, Vancouver, supported by GDS Communications, has chosen GB Labs’ SPACE SSD NAS shared storage system to drive Side Street’s DaVinci Resolve Studio systems.

Tags: GB Labs | Side Street Post and VXF | GDS Communications | SPACE | Storage | DaVinci Resolve | Playback | 4K DPX Streams | SAN Storage | colour correction | fibre | channel storage | ethernet | production | 6K | 8K | HD | NAS | ECHO | SAN | nearline storage | cold storage
Submitted by Manor Marketing
More from this author
The Future Group Unveils Significant Mixed Reality Advances in Pixotope Version 1.3 Posted: 23/07/2020
The Future Group Unveils Significant Mixed Reality Advances in Pixotope Version 1.3

The Future Group, creators of live photo-realistic virtual production system Pixotope®, today unveils its latest Version 1.3 software featuring a wide range of advances that significantly improve how virtual environments interact with real-world elements.

Pixotope enables the production of mixed-reality (MR) content by bringing together physical components such as presenters, actors, props and free-moving cameras, with virtually created assets such as scenes, graphics, animated characters, or any other computer-generated elements. Pixotope forms the central production hub when creating mixed-reality content for broadcast and live events, with Version 1.3 offering new object tracking, powerful lighting integration, enhanced colour management and more.

 

Tags: The Future Group | Pixotope | Version 1.3 | virtual elements | object tracking | virtual production | mixed-reality | Oystein Larsen | lighting control | colour management | Unreal game engine | Marcus Blom Brodersen | MKM Marcomms | MKM Marketing Communications
Submitted by MKM Marketing Communications
More from this author
CRYSTAL VISION RELEASES FEATURE-PACKED COLOUR CORRECTOR Posted: 27/05/2020
CRYSTAL VISION RELEASES FEATURE-PACKED COLOUR CORRECTOR

Crystal Vision has released its most feature-packed colour corrector and legaliser to date. The M-COCO-2 is Crystal Vision's first dual channel colour corrector, helping broadcasters save money by being 24% cheaper per channel than the company's alternative product. The M-COCO-2's ability to work with IP, with SDI or with both IP and SDI at the same time makes it the industry's first colour corrector to offer IP connectivity (supporting both SMPTE ST 2022 and ST 2110 video), while its extensive features also make it a good solution for hybrid systems as well as fully SDI installations. 

Tags: Crystal Vision | M-COCO-2 | IP colour corrector | SDI colour corrector
Submitted by Crystal Vision Ltd.
More from this author
Light Illusion launches new Colour Management System - ColourSpace CMS for Pre-Ordering and Beta Testing Posted: 29/04/2020
Light Illusion launches new Colour Management System - and ldquo;ColourSpace CMS and rdquo; for Pre-Ordering and Beta Testing

Light Illusion, specialists in critical colour management for film, post-production, and broadcast has launched a brand-new colour management product called “ColourSpace CMS”. Currently available for pre-order, it enables participation in the open beta program to provide feedback and input for the final release.

ColourSpace CMS is a software program which connects to a wide variety of display calibration probes in order to accurately assess the colour rendition of any display. It then creates colour management data which can be used to perfect colour accuracy by uploading it into a display that has colour management features, or alternatively, applied as a correction to the signal feeding the display using associated hardware.

Applications include display calibration, colour management, and colour workflows within the professional film, post-production, and broadcast industries, as well as for display manufacturers and home cinema enthusiasts. ColourSpace CMS data is compatible with most colour related post-production platforms such as Resolve, Flame and Baselight.

ColourSpace CMS has been designed to bring a significant improvement to how colour accuracy is measured and reported. 

Light Illusion aims for ColourSpace to become the de-facto standard for advanced colour management, promoting high levels of display calibration and colour control, regardless of final application.

 

 

 

 

Tags: colour | colour space | colour management | calibration | grading | colour grading | colourists | colour control | monitors | beta | colour rendition | display | colour science
Submitted by Radiance Communications
More from this author
Berlin Film Festival winners finished with Baselight Posted: 15/04/2020
Berlin Film Festival winners finished with Baselight

There is No Evil and Delete History prize winners completed at Optical Art in Germany and Color in Paris

 

At the 70th Berlinale, the 2020 Berlin Film Festival, the Golden Bear was won by There is No Evil, directed by Mohammed Rasoulof; the Silver Bear special prize went to Delete History, directed by Benoît Delépine and Gustave Kerven. Both movies depended on detailed grading and finishing on Baselight.

 

Tags: FilmLight | Baselight | Berlin Film Festival | colourist | colour grading | Berlinale | Golden Bear | Mohammed Rasoulof | Silver Bear | Benoît Delépine | Gustave Kerven | Jochen Hinrichs-Stöldt | MKM Marketing Communications
Submitted by MKM Marketing Communications
More from this author
CRYSTAL VISION BRINGS TEN NEW IP VIDEO PROCESSING APPS TO THE 2020 NAB SHOW (BOOTH SL7409) Posted: 25/02/2020
CRYSTAL VISION BRINGS TEN NEW IP VIDEO PROCESSING APPS TO THE 2020 NAB SHOW (BOOTH SL7409)

On Booth SL7409 at the 2020 NAB Show Crystal Vision will be showing the latest picture processing software apps for its MARBLE-V1 media processor hardware, all of which can work with IP, with SDI or with both IP and SDI at the same time. The functionality offered by these apps – which support ST 2022, ST 2110 video and 31 different SDI standards including 1080p – includes web browser keying, linear keying, picture-in-picture, clean switching, video delay, colour correction and up and down conversion. Their support for multiple signal formats gives the easiest possible SDI to IP upgrade, while also making the apps perfect for mixed SDI and IP installations as well as fully IP environments. One of the booth highlights will be the unique M-WEBKEY IP/SDI web browser keyer app, which provides a cost-effective alternative to a full graphics system. Other SDI products on show include the popular Cleanit profanity delays and Safire 3 real-time chroma keyer.

Tags: Crystal Vision | IP web browser IP keyer | linear keyer | IP picture-in-picture | IP fail-safe routing switch | IP video delay | IP colour corrector | IP up and down converter | NAB 2020 | NAB 2020
Submitted by Crystal Vision Ltd.
More from this author
FilmLight teams up with ARRI in Paris creative community Posted: 24/01/2020
FilmLight teams up with ARRI in Paris creative community

Following the appointment of Matthieu Straub as the company’s technical and operational consultant to France and the Benelux countries in the summer of 2019, FilmLight is delighted to announce that it has now established a permanent presence in Paris. By sharing premises with ARRI France, FilmLight is developing a strong hub for creative and technical knowledge and events.

The hub will host the first of FilmLight’s Colour Day workshops in 2020, on 28 January. One of the advantages of sharing the centre with ARRI is that it underlines the seamless workflows from camera to finish, using the BLG format for render-free viewing and creativity. The BLG grading metadata is stored in the ARRIRAW and QuickTime headers, ensuring the content and its look are permanently linked.

The Paris Colour Day on 28 January, aimed at creatives and technicians in production and post production, will see FilmLight’s workflow specialists, Straub and Thomas Eberschveiler unveil new FilmLight tools. Attendees will also hear from guest colourist Stéphane Azouze about his collaboration with directors Anastasia Mikova and Yann Arthus-Bertrand on the recent award-winning documentary ‘Woman’. Finally, colour scientist Florine Bel will share her image expertise and discuss her work developing film aesthetics, colour spaces and conversions.

The shared space has already hosted successful events, including a workshop day for DITs. Led by Straub, with guest speakers from Netflix and from post house Mikros, the group discussed the latest developments in colour space management and workflows. ARRI’s presence allowed the discussion to include ARRI Looks and how they can be incorporated into FilmLight BLG post production. In the demonstration area, they featured an ARRI ALEXA camera feeding Prelight and Daylight software, allowing the delegates to experiment with look development and make comparisons between standard and high dynamic range colour spaces.

Explaining the importance of bringing together creative artists and technicians, FilmLight’s Matthieu Straub said “My background is as a digital image technician, and I know how directors and cinematographers are increasingly relying on DITs to find technical solutions to their demanding creative requirements. “Our intention is to use our demonstration and meeting space here on the Rue René Boulanger to be a place where we can encourage the sharing of knowledge and experiences, to help the French cinema industry achieve ever greater things.”

Tags: FilmLight | ARRI | Paris | Colour Day | Matthieu Straub | workshop | Thomas Eberschveiler | Stéphane Azouze | colourist | colour science | BLG format | Baselight | Prelight | Daylight | MKM Marcomms | MKM Marketing Communications
Submitted by MKM Marketing Communications
More from this author
Baselight helps to polish Uncut Gems Posted: 14/01/2020
Baselight helps to polish Uncut Gems

Uncut Gems is the latest movie from directing duo, the Safdie Brothers. The movie tells the story of a charismatic New York City jeweller and gambler (Adam Sandler), and is set in the diamond industry of New York. So it is appropriate that the colour palette was created at The Mill NY by colourist and director of DI, Damien Van Der Cruyssen.

Van Der Cruyssen collaborated closely with cinematographer Darius Khondji, as well as the Safdie Brothers, all of whom he had worked with previously on the Jay-Z video for Mercy Me. “At that point I got a good understanding of their relationships and how I could fit into the equation.”

Visually, Uncut Gems has a classic New York City look, but with a modern twist. “The Diamond District hasn’t changed much over the last forty years, so it automatically had that 70’s ‘noir’ feel,” commented Van Der Cruyssen. “But we wanted to break away from the steely, gritty New York to a more real-life aesthetic – less forced and contrived.”

Around half of the movie was shot on 35mm film to give it a more natural look, which meant Van Der Cruyssen had to treat the digital footage to match. “Marrying the film footage with the digital scenes was quite challenging,” he explained. “So I asked the crew to shoot some grain elements that could be overlaid in Baselight and adjusted per scene.”

 

Tags: FilmLight | Baselight | Uncut Gems | Safdie Brothers | Adam Sandler | The Mill NY | colourist | Damien van der Cruyssen | Darius Khondji | Diamond District | New York City | BLG metadata workflow | colour grading | Netflix | MKM Marcomms | MKM Marketing Communications
Submitted by MKM Marketing Communications
More from this author
Technicolor uses Baselight to create light and shade in His Dark Materials Posted: 18/12/2019
Technicolor uses Baselight to create light and shade in His Dark Materials

One of the most awaited drama series of 2019, His Dark Materials, produced by Bad Wolf for BBC and HBO, was finished at Technicolor in London. With a story set in a parallel universe that seems like the Britain of a century ago, and with fantastic elements such as giant armoured polar bears and ever-present “daemons” – animal representations of the human soul – the production is a tour de force of visual effects, and therefore somewhat demanding of the colourist, Jean-Clément Soret.

“Over the eight episodes of series one there were four directors and DoPs,” Soret explained. “Justin Brown was DoP for the first two episodes, and I had worked with him a lot in the past on commercials so we had a strong understanding of where we wanted to go. I was really happy to be able to collaborate with him again.

“Justin shot some tests – with the real locations, actors and costumes – in both 35mm and digital,” he continued. “It always surprises me how different film looks! What the tests did was allow us to create a core feel. The decision was also made to add a bit of subtle film grain throughout the episodes. The Technicolor colour science team in LA then created a LUT for Baselight, which gave us that same film feel with the digital footage.”

One of the challenges of the story – based on a trilogy of novels from Philip Pullman – is that each human character has a daemon, and humans are rarely seen on screen without their daemons around them. That meant a large number of VFX shots to insert the CGI daemons. “I found that when it came to the integration of the VFX, contrast and colour was key. The film LUT, together with the control of sharpness and softness from Baselight, was a great help.”

The first series – based on Northern Lights, the opening novel of the trilogy – moves from an Oxford college bathed in warm sunshine to “The North”, Pullman’s name for the Arctic, where the first battles take place. “We may have set the feel in the first episode, but the story develops through different worlds and different eras, so the grade naturally develops,” Soret said.

“With different directors and DoPs across the series, the colourist has to provide the backbone of the look, to create consistency while respecting each cinematographer,” he added. “Baselight allowed me to set the key looks then develop them naturally, freeing me from a constrained palette and allowing us to create a convincing visualisation of this rich and complex story.”

As well as remarkable creative control, the Baselight grading facilities at Technicolor also provided critical support in the workflow, by giving free access to all the raw footage from the series as well as the VFX shots as they developed. The practicalities of creating eight hours of premium drama in a television timescale meant that grading on specific episodes took place when directors and DoPs were available for supervision. That meant that Jean-Clément Soret could be working on three or four episodes at any one time.

The result is an engaging, enthralling drama that looks ravishing and chilling in turn. This first series is broadcast on BBC1 and HBO in November and December, while the second series is already in production.

Tags: FilmLight. Technicolor | Baselight | His Dark Materials | colour grading | Jean-Clément Soret | Justin Brown | Philip Pullman | colour science | creative control | colour consistency | convincing visualisation | MKM Marcomms | MKM Marketing Communications
Submitted by MKM Marketing Communications
More from this author
Color Trix releases Color Finale 2 for Final Cut Pro X Posted: 10/12/2019
Color Trix releases Color Finale 2 for Final Cut Pro X

Color Finale (www.colorfinale.com), the highly popular macOS-only colour grading plug-in for Final Cut Pro X (FCPX) from UK company ColorTrix, has been superseded by Color Finale 2 and Color Finale 2 Pro.

The new Color Finale 2 toolset adds a host of new color grading and image processing tools above the standard color grading tools that ship with FCPX, and has been specifically designed to remove the need for Editors to move themselves and their content to an external dedicated colour grading system.

Key new Color Finale 2 features include:

• Masking – shape based and free form keying for selective color grading

• Area Tracker – track masks on moving picture elements

• Film Emulation Tools – add customizable digital grain

• Shot Matching toolset – semi-automate primary color correction for shot matching

• LUT Manager – auto-locate, live preview, and export of LUTs and Presets

• Modern Sharpening algorithm – enhance perception of focus in soft areas of shots

• Video Analysis Tools – locate and correct technical image anomalies

Color Finale 2 for Mac ($99) and Color Finale 2 Pro for Mac ($149) are available to purchase now from www.colorfinale.com

 

Tags: Color Finale | Color Fianle 2 | Color Trix | FCPX | Final Cut Pro X | color grading | colour grading | color correction | colour correction
Submitted by Color Trix Ltd.
More from this author
Pages:   [1] 2 3 4 5 6 7 > >>