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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
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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
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Polar Graphics announces product support and technical sales appointments Posted: 24/03/2020
Polar Graphics announces product support and technical sales appointments

Polar Graphics, a UK leading distributor for the broadcast, post and pro-AV industries, has announced the appointments of Alexandros Galanos and Christopher Stone to further enhance ongoing business growth.

Galanos joins Polar Graphics as a product support specialist with responsibility for providing technical liaison with resellers and end users as well as support for product demos. Prior to Polar Graphics, Galanos was at Tyrell as a senior engineer with extensive experience in technical auditing, installation, workflow design, and technical support.

Stone takes on the role of technical sales manager, responsible for advising resellers and end users of the best product fit from the Polar Graphics product range for their specific workflow and providing full, first-hand guidance through the entire purchase process. Before his arrival at Polar Graphics, Stone was EMEA and APAC director of business development for XenData Ltd.

Polar Graphics Managing Director Peter Rowsell said, “Alexdandros and Christopher are seasoned professionals who bring a wealth of industry experience to their respective roles and I am delighted to welcome them both. The hands-on knowledge and decades of experience they possess will be of great benefit to our customers and is a clear indication of the ongoing expansion of Polar Graphics’ business.”

Galanos said, “Polar Graphics has a long and enviable reputation as a first-class distributor, and I look forward to using what I know to the benefit of the company and its customers.”

Stone echoed Galanos, saying, “With 40 years of experience around the broadcast world, I believe I am very well-placed to guide Polar Graphics customers, traditional and new, through a process that identifies the best product fits for their operation and, even more specifically, for their world region.”

Both appointments are effective immediately.

Tags: Polar Graphics | Appointment | Alexandros Galanos | Christopher Stone | Reseller | Distributor | AV | Broadcast | Post Poroduction
Submitted by Page Melia PR
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New IP Workflows Take Centre Stage In Eight Different Countries as Axon PRE-NABSHOW TOUR 2020 Hits The Road Posted: 20/02/2020
New IP Workflows Take Centre Stage In Eight Different Countries as Axon and rsquo;s PRE-NABSHOW TOUR 2020 Hits The Road

Axon’s proven Neuron IP processing and Cerebrum control & monitoring technology will be demonstrated with equipment from EVS, Sony, Arista, Calrec and Meinberg during this 22-day Outside Broadcast truck tour.

The Axon PRE-NABSHOW TOUR 2020, which runs across 16 locations in eight different European countries, kicks off on March 2nd. It allows broadcasters to experience tomorrow’s workflows by getting on board today. The products demonstrated on the truck will be exactly the same as those on display at Axon’s booth at NAB, so this will also provide a perfect opportunity for people who are not going to Las Vegas to get up-close and personal with Axon’s solutions.

For further information about the tour and to access a full schedule, please follow this link: https://www.axon.tv/knowledge/axon-pre-nab-tour-2020/

 

Tags: Axon Digital Design | Sony | EVS | Arista | Calrec | Pre-NABSHOW 2020 Tour | IP workflows | NAB 2020 | NAB 2020
Submitted by White Noise Public Relations Ltd
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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
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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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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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Power of Baselight X on display at the heart of Inter BEE Posted: 31/10/2019
Power of Baselight X on display at the heart of Inter BEE

At Inter BEE, the FilmLight presence will be led by Koichi Matsui, General Manager of FilmLight KK, along with Yoko Kimura, newly appointed sales and product specialist. “FilmLight is one of the world’s leading companies for production and post production technology,” said Koichi Matsui “Yoko’s recent appointment underlines this region’s importance to us, and is a clear indication of the support we are giving to our existing and future customers in Japan.”

Top end post-production is placing ever-more stringent technical demands on technology, in support of the creative ambitions of directors, cinematographers and colourists. 4K and HDR are now commonplace, and 8K is being broadcast today in Japan. Recently, Baselight workstations were chosen for grading and finishing Ang Lee’s new movie, Gemini Man, shot and delivered in 120 frames per second, 4K, high dynamic range 3D.

Only the power of the Baselight X system can handle such a data-intensive project, while still giving the colourist free rein with next-generation creative tools and realtime response. FilmLight will demonstrate these tools as part of its latest software version at Inter BEE 2019, on an 8K display powered by a Baselight X grading system. This includes new productivity features such as the enhanced timeline with collapsing stacks and multiple tracks.

Tags: FilmLight | Yoko Kimura | Inter BEE | Koichi Matsui | Japan | Asia Pacific | post-production | colourist | Baselight | grading | Ang Lee | Gemini Man | Baselight X | Baselight Editions | Daylight | Blackboard Classic | control panel | MKM Marketing Communications
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Fifty Fifty adds second Baselight grading suite Posted: 21/10/2019
Fifty Fifty adds second Baselight grading suite

Leading London boutique post house Fifty Fifty has added a second Baselight grading suite as part of its expansion programme. With the growing interest in top end content for broadcast and streaming, both suites are equipped for 4K and HDR Ultra HD, and certified for Dolby Vision grading and delivery.

 
Originally a short-form house, Fifty Fifty is now best known for its broadcast work. As well as an ambitious expansion into a fourth building next to its original Soho base, to drive future creative and commercial growth, Fifty Fifty has recruited experienced long-form colourist Joe Stabb to run both the department and the new suite.
 
“Our boutique size enables us to offer agile, bespoke solutions,” said Cara Kotschy, managing director of Fifty Fifty. “The addition of beautifully styled and Dolby Vision accredited Baselight suites is a strategic move to put us at the forefront of technology and deliver our strategy within the high-end programming market. Baselight is a name that almost every single client will recognise and trust.”
 
Today, the majority of Fifty Fifty’s OTT deliverables are in HDR, so it is incredibly important that they have the confidence to deliver this new technology. The new suite matches the existing room technically, based on a Baselight TWO workstation with a Blackboard control surface. Fifty Fifty also use Baselight plug-ins in their editorial rooms and Flame VFX.
Tags: FilmLight | Fifty Fifty | Baselight | grading suite | colourist | Joe Stabb | 4K | HDR Ultra HD | Cara Kotschy | Dolby Vision | Blackboard control | Flame VFX | colour science | colour artist | interoperability | MKM Marcomms | MKM Marketing Communications
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Cobalt Digital Promotes Ciro Noronha to Executive Vice President of Engineering Posted: 15/10/2019
Cobalt Digital Promotes Ciro Noronha to Executive Vice President of Engineering

Cobalt Digital is pleased to announce the appointment of Ciro Noronha, Ph.D., as executive vice president of engineering. Noronha joined the Cobalt team in 2016 when iMediaTV was acquired. He will work closely with Ryan Wallenberg, vice president of engineering, and Kyle Wilken, vice president of firmware, managing the engineering team and providing valuable resources for Cobalt Digital as the company continues to offer the highest quality, latest technological solutions to meet the needs of the broadcast industry.

Tags: Cobalt Digital | ARQ | RIST | NAB New York
Submitted by Pipeline Communications
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Artjail raises the bar with Baselight colour grading Posted: 03/10/2019
Artjail raises the bar with Baselight colour grading
Independent VFX boutique Artjail has added a Baselight grading suite in each of its locations: one in its New York studio, and one in Toronto their newest studio that opened in January. Bringing grading and VFX together will strengthen the studio’s workflow for complex VFX projects. It will also further their reputation for short form advertising projects and long form work.
Tags: FilmLight | Clinton Homuth | colourist | Artjail | VFX boutique | Baselight | grading suite | Steve Mottershead | New York | Toronto | BLG | Flame | NUKE | Avid | VFX | feature set | MKM Marcomms | MKM Marketing Communications
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RIST Forum to Host Free Session at IBC2019 Posted: 04/09/2019
RIST Forum to Host Free Session at IBC2019

The RIST Forum will host a free “Lunch and Learn,” followed by presentations and panel discussions, on Monday, 16 September, at IBC2019 in Amsterdam. The RIST Forum is an independent association focused on promoting the open, interoperable, and technically robust RIST protocol for the delivery of low-latency live video over unmanaged networks.

Tags: RIST | IBC | IBC 2019 | IBC 2019
Submitted by Pipeline Communications
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IBC2019: New Cobalt Digital Solutions Support 4K Workflows for Studio and Mobile Applications Posted: 13/08/2019
IBC2019: New Cobalt Digital Solutions Support 4K Workflows for Studio and Mobile Applications

Cobalt Digital will showcase its card-based 4K and HDR workflow solutions for openGear® frames next month at IBC2019 in Amsterdam (Stand 10.B44). Product highlights will include its new decoders and encoders, RIST Main Profile, bi-directional SDR/HDR conversion solution for live production, and new multiviewers and distribution amplifiers. Plus, the company will debut a new 12G openGear router and RIST gateway solution.

Tags: Cobalt Digital | IBC | HDR | 12G-SDI | 4K | encoder | decoder | multiviewer | RIST
Submitted by Pipeline 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
Submitted by 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
Submitted by MKM Marketing Communications
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