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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
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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
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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
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Directors Cut upgrades to Baselight for HDR and 4K Posted: 31/10/2019
Directors Cut upgrades to Baselight for HDR and 4K

Independent London post house Directors Cut Films – owned and operated by its creative staff – has invested in a Baselight TWO colour grading workstation with a Blackboard 2 control panel. Directors Cut works primarily in premium long-form television, as well as drama series, documentaries and feature films, with increasing interest in 4K and HDR.

“Being owned and run by ex-editors, we know what is required to meet and exceed expectations in post,” said Senior Colourist Andy Elliott. “We felt it was the right time to invest and embrace HDR and 4K workflows. HDR in particular produces much more of a positive visual impact, with real benefits in the immersive experience for the viewer.”

Leading broadcasters and production companies in the UK routinely turn to Directors Cut to finish major projects. While the work includes major dramas and some feature films, the company has a reputation for long form TV, especially documentaries. Recent projects graded by Elliott include biographies of Cher and Elton John, an investigation of the Bauhaus for BBC4, and Sir David Attenborough’s call to action Climate Change: The Facts.

Elliott pointed out that such programmes frequently bring together footage shot on multiple different cameras and formats, often in less than ideal circumstances. The task for the colourist is to integrate all of the footage as well as create a coherent look that reflects the story the director wishes to tell. That makes the speed and power of the upgraded Baselight suite an important asset.

Tags: FilmLight | Directors Cut Films | independent post house | Baselight TWO | colour grading | Blackboard control panel | Andy Elliott | HDR | 4K | grading suite | powerful system | asset | colourist | MKM Marcomms | MKM Marketing Communications
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FilmLight presents Colour On Stage at IBC2019 Posted: 13/08/2019
FilmLight presents Colour On Stage at IBC2019

At this year’s IBC, FilmLight (stand #7.A45) is hosting the free two-day seminar series, Colour On Stage, on 14-15 September 2019. The event provides an opportunity for visitors to participate in live presentations and discussions with colourists and other creative professionals at the peak of their craft.

Tags: FilmLight | IBC2019 | Baselight | Colour on Stage | colourist | colour management | grading tools | colour grading | Alex Gascoigne | Technicolor | Eric Weidt | Stephen Edwards | Tom Chittenden | David Williams | CV Rao | Karine Feuillard | MKM Marketing Communications | IBC 2019 | IBC 2019
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Creating movie star looks for HBO Big Little Lies Posted: 12/08/2019
Creating movie star looks for HBO and rsquo;s Big Little Lies
The second season of HBO’s runaway hit drama Big Little Lies was completed at Technicolor in Los Angeles. Finishing artist and Vice President of business development Pankaj Bajpai, famed for grading the HBO series Sex in the City, True Detective and Nat Geo’s Genius seasons for both Einstein and Picasso, used Baselight to enhance the distinctly Californian look of the show.
Tags: FilmLight | Big Little Lies | HBO | Technicolor | Pankaj Bajpai | Baselight | Base Grade | Film Grade | Flare control | BLG for Flame | Baselight for NUKE | VFX | color grading | colour grading | MKM Marcomms | MKM Marketing Communications
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Legendary colourist Yvan Lucas reunites with Quentin Tarantino for Once Upon a Time... in Hollywood Posted: 05/08/2019
Legendary colourist Yvan Lucas reunites with Quentin Tarantino for Once Upon a Time... in Hollywood
The latest movie written and directed by Quentin Tarantino, Once Upon a Time… in Hollywood, took the 2019 Cannes Film Festival by storm. The film visits late 60’s Los Angeles with colour and vitality realised by cinematographer Robert Richardson.
Tags: FilmLight | colourist | Yvan Lucas | Quentin Tarantino | Oce Upon A Time... In Hollywood | Cannes Film Festival | Robert Richardson | Baselight | colour grading | Éclair | Matt Tomlinson | Elodie Ichter | Daylight | MKM Marcomms | MKM Marketing Communications
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Youngster builds powerful workflows with BLG Posted: 18/07/2019
Youngster builds powerful workflows with BLG
One of London’s newest high-end finishing houses, Youngster, is delivering uncompromised quality thanks to FilmLight’s unique BLG workflow. Youngster is using the innovative setup to provide seamless, renderless content exchange between Flame VFX, Avid editing and the Baselight grading and finishing suite. The BLG workflow is already being used on commercials including those for Treatwell and Mulberry as well as music videos for the likes of Joji, whose Sanctuary promo received over 14 million hits on YouTube in its first few days.
Tags: FilmLight | Youngster | BLG workflow | Flame VFX | Avid | Baselight | colour grading | Treatwell | Mulberry | Joji | Sanctuary | Whitehouse Post | The Quarry | finishing services | Jim Bracher | The Mill | Wolfgang Lempp | MKM Marcomms | MKM Marketing Communications
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At NAB 2019 FilmLight adds more to modern colour finishing and delivery Posted: 28/03/2019
At NAB 2019 FilmLight adds more to modern colour finishing and delivery
With the colour grading suite now the hub for finishing on movies, premium television and commercials, FilmLight is focusing on putting all the right colour tools into the hands of the creatives who need them, and on simplifying the pipeline for collaborative workflows.
Tags: FilmLight | NAB | NAB2019 | colour grading | colorist | colourist | colour tools | Baselight | Andrea Chlebak | cache management | VFX | Flame | NUKE | Avid | Prelight | Daylight | MKM Marcomms | MKM Marketing Communications | NAB 2019 | NAB 2019
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FilmLight illuminates commitment to Japanese creative community at Inter BEE 2018 Posted: 08/11/2018
FilmLight illuminates commitment to Japanese creative community at Inter BEE 2018

FilmLight will demonstrate its creative and technical commitment to Japanese television broadcasting and post-production with its own booth at Inter BEE 2018 (Makuhari Messe, Tokyo, 14–16 November, #3311). This marks both the five-year anniversary of the FilmLight office in Tokyo, and provides the opportunity to showcase the latest version of FilmLight’s colour grading and management platform, Baselight v5, for the Japanese market.

Tags: FilmLight | Japan | Inter BEE 2018 | Baselight v5 | post production | Tokyo | colour grading | cutting edge | creative tools | Koichi Matsui | streamline complex workflows | Prelight | Baselight Editions | Daylight | VFX | MKM Marketing Communications
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FilmLight creates Cold War look for The Americans Posted: 29/10/2018
FilmLight creates Cold War look for The Americans

The sixth and final Emmy award winning series of The Americans, a period spy thriller set in the 1980s during the Cold War, was recently finished in HDR and 4K Ultra HD at Technicolor PostWorks in New York. Since series two, the look of the finished series has been the responsibility of John Crowley, Senior Digital Colourist, working on the Baselight colour grading system from FilmLight.

Tags: FilmLight | Cold War | The Americans | Technicolor PostWorks | HDR | 4K Ultra HD | John Crowley | colorist | colourist | Baselight | colour grading | Dan Sackheim | David Woods | Crystal Whelan | Fox 21 Television Studios | FX Productions | Emmy Award | MKM Marcomms
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Baselight innovation streamlines collaborative creativity at IBC2018 Posted: 07/09/2018
Baselight innovation streamlines collaborative creativity at IBC2018

FilmLight is to demonstrate remarkably powerful new functionality for its colour grading and management platform Baselight at IBC2018 (Amsterdam, 14–18 September, stand 7.B26). The latest software will be shown on Baselight grading stations, and also implemented across FilmLight’s product range, which includes Prelight for on-set visualisation, the Daylight dailies system and the expanding Baselight Editions range for editing and VFX.

Tags: FilmLight | Baselight | IBC | IBC2018 | new functionality | color grading | colour grading | Prelight | Daylight | Baselight Editions | streamline workflows | cutting edge | Martin Tlaskal | rotoscoping | Merge View | Panorama sandwich | Blend panel | MKM Marcomms | IBC 2018 | IBC 2018
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FilmLight introduces BLG for Flame at NAB2018 Posted: 20/06/2018
FilmLight introduces BLG for Flame at NAB2018

At NAB2018, FilmLight is launching BLG for Flame as the latest product in the popular Baselight Editions range. BLG for Flame is a Linux-only plugin for Autodesk Flame that applies a Baselight grade automatically, either from Baselight Linked Grade (BLG) files or directly from a Baselight scene.

Tags: FilmLight | NAB2018 | BLG for Flame | Baselight | Prelight | Daylight | Will Harris | Autodesk | Flame | colour correction | colorist | colour grading | Mike Nuget | MKM Marcomms | MKM Marketing Communications
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FilmLight launches worldwide colour masterclass tour Posted: 20/06/2018
FilmLight launches worldwide colour masterclass tour

To help colourists, DoPs and the wider production and post industry understand the opportunities and challenges that HDR and new delivery formats bring, FilmLight is taking intensive and specialist masterclasses on a world tour. Dates are already set for London (15 May), Mumbai (16 May), Hollywood (4 June) and Seoul (7 June), with more to be added.

Tags: FilmLight | Baselight | masterclass | colourist | colorist | colour grading | colour-managed workflow | colour spaces | colour science | grading tool | Filmlight expert | Andy Minuth | Daniel Siragusano | Peter Postma | MKM Marcomms | MKM Marketing Communications
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Baselight helps Donbass meet Cannes deadline Posted: 20/06/2018
Baselight helps Donbass meet Cannes deadline

Donbass, a new movie by Ukrainian writer/director Sergei Loznitsa, is to be shown as a work-in-progress version at the 2018 Cannes Film Festival. Post-production was to a tight timescale – shooting only wrapped in March – and Bucharest facility Digital Cube used a Baselight grading suite to ensure delivery while retaining full creative control over the look.

Tags: FilmLight | Baselight | Cannes Film Festival | Donbass | Ukrainian movie | Sergei Loznitsa | Digital Cube | Oleg Mutu | Claudiu Doaga | Sebastian Plamadeala | Danielus Kokanauskis | colorist | colour grading | MKM Marcomms | MKM Marketing Communications
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