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Moments Lab Adds AI-Powered Content Discovery to Adobe Premiere Pro

The Premiere Plugin synchronises Premiere Pro’s project panel bin with Moments Lab's Hub, making their MXT-1.5 multimodal AI engine for video search, available to Premiere editors.

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Moments Lab Adds AI-Powered Content Discovery to Adobe Premiere Pro

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FilmLight Nara Simplifies Access to Data and Project Management

FilmLight’s new version of Nara, software for post workflows, is coming to IBC with streaming features for data and file access, project management tools and further Baselight integration.

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DaVinci Resolve Studio and Blackmagic Cloud Solve 4K Picture Post at BSQUARED

BSQUARED post studio make flexibility, collaboration and top quality work their priorities, using DaVinci Resolve with Blackmagic Cloud and Remote Monitor to hold dispersed teams together.

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José Francisco Neto Unravels the Colourist’s Role at FilmLight Colour Awards

José Francisco Neto talks about his 30-year career, what it means to work as a colourist today and tomorrow, and why he’s looking forward to being a judge at the FilmLight Colour Awards.

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Sony BVM-HX3110 Reference Monitor Keeps Arsenal FX Color Ahead in Post

Arsenal chose the 4K Sony BVM-HX3110 to work alongside their fleet of BVM-HX310 monitors, pleased with the colour rendition, improved viewing angle and fast pixel response.

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Colour and Cinematography Push Time and Place on TV Series Eric

Colourist Toby Tomkins and cinematographer Benedict Spence talk about creating the look for TV series ‘Eric’, shooting on ALEXA 35 and grading in Baselight, to help convey time and place.

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EditShare Wiredrive Keeps Stories on Track at Offroad Films

Offroad Films uses Wiredrive cloud media-sharing service to create and present showreels and pitch reels to clients and as a centralised collaboration and content management tool.

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Tim Belcher Joins Light Iron as New Managing Director

Light Iron, the post-production creative-services division of Panavision, has named industry veteran Tim Belcher the company’s new Managing Director.

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Cinematographer Mandy Walker to Judge at FilmLight Colour Awards

Australian cinematographer Mandy Walker, a judge in the 2024 FilmLight Colour Awards, says she’ll be looking for colour that works with the story and what the viewer sees in the frames.

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Elodie Ichter Builds a Look from History on Baselight for FX’s ‘Shōgun’

TV series ‘Shōgun’ was graded remotely at The Mill by colourist Elodie Ichter. With creative freedom to create a look entirely from scratch, she drew on history for a rich, colourful effect.

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Finding the Perfect Finish for 'Furiosa: A Mad Max Saga'

Colourist Eric Whipp talks about working remotely with his team between LA, Toronto and Sydney to build the looks on Baselight that tell the story of the new Mad Max film, Furiosa.

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Company 3 and Baselight Align on the Colour Grade for ‘The Gentlemen’

Colourists Jean-Clément Soret and Matthieu Toullet talk about grading the series with the DoPs on Baselight, from continuity challenges to relying on a LUT, to finding the look for every scene

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Dimension Studio Receives Major Investment to Support International Expansion

Dimension virtual production studio receives investment from Growth Catalyst Partners with the goal of extending the potential of virtual production to more filmmakers and creators.

Reaktor Post Grades ‘Érase Una Vez En El Caribe’ on Baselight 6.0

Colourist Edgar Lebron took up FilmLight’s offer to work with Baselight 6.0 on Puerto Rican film 'Once Upon a Time in the Caribbean',…

DaVinci Resolve Studio Tames the Colour Grade for ‘Godzilla Minus One’

Colourist Masahiro Ishiyama of ARTONE FILM completed the colour grade on Blackmagic Resolve with Director Takashi Yamazaki on his…

Preymaker Welcomes Colourist Mark Sanna to its Creative Team

Creative studio Preymaker has hired colourist Mark Sanna, who will be available to collaborate in person as well as to host colour sessions…

Dirty Looks Bring Authenticity to 'The Zone of Interest' with Naturalistic Colour

Colourist Gareth Bishop talks about working with Baselight and director Jonathan Glazer to create a contemporary look for this film,…

Harbor UK Appoints Thom Berryman as Managing Director, Feature & Episodic

Harbor production studio has appointed Thom Berryman as UK Managing Director for Feature and Episodic. Prior to Harbor, Thom held a tenure…

zweiB Upgrades to R&S CLIPSTER 6 MK 2 for Precise, Consistent Mastering

zweiB post, a specialist in deliverables for cinema, events and trade shows extended its long partnership with Rohde & Schwarz, moving up…

Élodie Ichter Joins Light Iron as Senior Colourist

Light Iron, the post-production creative-services division of Panavision, is pleased to announce that Élodie Ichter has joined the…

Adobe Brings Major Updates to Frame.io, Firefly, Photoshop at NAB, Adobe MAX

At NAB and Adobe MAX London, Adobe showed updates, new integrations and AI functionality for Frame.io and Photoshop, including the new…

Colorfront Brings Dolby Vision, AI and New Colorfront Engine Features to NAB

NAB Colorfront showed new Dolby Vision mastering features, AI tools accelerating QC and the new version of Colorfront Engine supporting…

FilmLight Nara Connects Creative Teams with Native Media Decodes and Playback

NAB FilmLight’s new Nara software gives post-production facilities, VFX houses and other media professionals immediate access to media from…

Blackmagic DaVinci Resolve 19 Updates Colour, VFX, Editorial, Sound Workflows

NAB Resolve 19 update adds DaVinci Neural Engine AI tools, colour grading palettes, Fusion FX, Fairlight 3D audio panning, new rotoscoping…

Swank Motion Pictures Enlists Interra BATON for Automated Quality Control

Interra Systems’ BATON AI/ML-enabled QC platform and BATON Media Player automate QC and compliance at Swank Motion Pictures to improve…

Rose Hancock Joins Axis Studios as VFX Executive Producer

Axis Studios animation and visual effects company is proud to announce the appointment of Rose Hancock as Executive Producer within its VFX…

Rodeo FX Adds Colour Grading with Baselight, Hires Ana Ecorse

Rodeo FX, known best for VFX, animation and post, has expanded into colour grading by opening a new Baselight grading suite and hiring…

Maxine Gervais Joins Harbor as Senior Colourist

Post studio Harbor hired Maxine Gervais as Senior Colourist, bringing a wealth of experience and an illustrious career working on over 50…

Matchbox Pictures Chooses Avid Edit On Demand for Cloud Production Services

To post produce a reality TV series, Matchbox Pictures adopted Avid’s Edit On Demand remote editing system with NEXIS storage for a team of…

424 Post and Harbor Unite to Launch HDR Theatrical Post Studio

LA sound studio 424 Post and post studio Harbor have entered into a collaboration launching Culver Post, a full-service post-production…

Picture Shop’s Mark Kueper Uses DaVinci Resolve Studio to Capture Billy the Kid

Mark Kueper graded both seasons of Billy the Kid in DaVinci Resolve, taking the look from Canada’s lush green spring to arid New Mexico,…

DaVinci Resolve Studio Handles Complete Picture Finishing for BBC Series ‘Vigil'

Blazing Griffin Post’s team in Glasgow returned for post production of ‘Vigil’ season 2, delivering all aspects of picture finishing in 4K…

DFT Scanity 4K Film Scanner Participates in Digitisation Initiative at Poland’s FINA

The DFT Scanity 4K Scanner, with a WetGate system, contributes to digitising, restoring and promoting Polish audiovisual heritage at FINA,…

Baselight v6.0 Opens the World of Machine Learning to Colourists

FilmLight’s Martin Tlaskal talks about the growing importance of machine learning in post-production today, and introduces Face Track…

Picture Shop Names Rachel Faith Hanson as Executive Producer of VFX

Picture Shop has named Rachel Faith Hanson executive producer of visual effects, with over 20 years of industry experience throughout the…

Option Media Integrates Audio/Video Post Workflows with Resolve Studio

Option Media overhauled its legacy systems and now operates seven studios, adopting DaVinci Resolve Studio for both audio post and picture…

FilmLight Colour Awards Winners Share Tips, Insights and Stories

The winners of the 2023 FilmLight Colour Awards talk about their projects and their very different creative and practical approaches to…

Qumulo Puts PFX in Control of Studio Storage Capacity, Performance and Scale

Martin Polak at PFX post facility in Prague talks about adopting the Qumulo File Data Platform to manage and centralise the massive file…

Signiant Makes Complex File Movement Simple and Fast at Blazing Griffin

Media Shuttle simplifies production, post and distribution workflows at Blazing Griffin, ensuring accuracy and timeliness of file delivery,…

Fusion Studio Makes a Smart Option for Compositing in 'Dumb Money'

VFX Supervisor Sam O’Hare led four VFX teams to deliver over 500 shots for ‘Dumb Money’, using Fusion to design super efficient scripts for…

Sony Ci Media Cloud Introduces New Business Tier, Transfer App, Dolby Atmos Support

Sony’s Ci Media Cloud media management now features a subscription Tier for small to medium businesses, a desktop file transfer app and…

Baselight Colour Grade Brings Cinematic Realism to ‘A Piece of Sky’

Timo Inderfurth graded A Piece of Sky, Best Film award winner at the 2023 Swiss Film Awards, on Baselight, playing a central role in the…

DaVinci Resolve and Blackmagic Cloud Support Frida’s Remote Post Workflow

Image Workflow Supervisor Ernie Schaeffer used DaVinci Resolve Studio and Blackmagic Cloud as the main DI processing tools for most of the…

Adobe Visualises a New Audio Editing Workflow for Premiere Pro

Adobe added new audio tools, now in beta, to the Premiere Pro timeline to speed up editing, including interactive fade handles on clips and…

Colourist Sean Dunckley Joins Goldcrest Post's Senior Creative Team

Sean Dunckley joined the creative team at Goldcrest Post as Senior Colourist, bringing experience from more than 130 credits spanning…

Supervising Colourist Peter Doyle Joins Picture Shop

Picture Shop has hired Supervising Colourist Peter Doyle to join its roster of artists. His 25 years of experience include work on films…

Eurotape Media Upgrades R&S Clipster and Storage Network for Faster Mastering

Eurotape Media manages, processes and delivers large, high resolution files under tight deadlines. Their Clipster and SpycerNode…

Sonny Sheridan Lives a Life for Colour

Senior colourist Sonny Sheridan talks about his career as a colourist over the past decades – from projects to influences and tools – and…

Federal German Archives Invests in Film Digitisation Expertise from DFT

Germany’s National Film Archive has installed a film digitisation facility in Berlin that centres on six DFT film scanners specialised in…

Life in Six Strings Stays in Tune with Hangman and DaVinci Resolve Studio

James Tonkin talks about shooting and producing this series of interviews with famous guitarists, using DaVinci Resolve Studio and…

Baselight 6.0 Adds New Colour Space, AL/ML Tools, Look Dev for Colourists

FilmLight’s Baselight 6.0 includes an updated timeline, new primary grading tool X Grade, the new Chromogen look development tool, plus…

Avid Editing and Storage Bring ENVY’s Post-Production Workflows Up to Speed

ENVY’s five London studios now run on Avid Media Composer | Enterprise editing software and NEXIS F-Series storage engines, supporting…

Mark Mulcaster Colours the Fighter’s Life for Documentary Series ‘Hatton’

Colourist Mark Mulcaster at Sky Post Production worked on Baselight to bring together archival and modern purpose-shot 4K footage for this…

Cinnafilm and Perifery Partner to Enhance Media Conversion Workflows

Cinnafilm’s and Perifery’s new partnership makes Perifery’s object storage systems Object Matrix and Swarm available alongside Cinnafilm’s…

DaVinci Resolve Studio Gives ‘Twisted Metal’ a Dangerous Look at Light Iron

Light Iron’s colourist Charles Bunnag graded this dramatisation of the Twisted Metal video game in Resolve with a high contrast, saturated…

DigitalFilm Tree Uses Signiant Fast File Transfer to Keep Ahead in TV Series Post

DigitalFilm Tree chooses Signiant Media Shuttle for remote workflows for faster transfers, its level of security and performance, and the…

Sebastian Göhs Meets the Challenge of Fantasy for Amazon Series ‘The Gryphon’

Sebastian Gohs talks about his start in colour grading, working as a freelancer, recent work on Amazon TV series ‘The Gryphon’ and learning…

Eric Weidt Defines the Colour of ‘The Killer’

Colourist Eric Weidt talks about working with Director David Fincher and DP Erik Messerschmidt to create looks in Baselight for the three…

Signiant Recognised with Trusted Partner Network App and Cloud ‘Gold Shield’

Signiant joins the Trusted Partner Network after successfully completing a TPN App and Cloud Gold Shield assessment to help counter ongoing…

PHABRIX and Leader Devices Support Live UHD/HDR Production at TVN

TVN LIVE PRODUCTION mobile TV services acquired a large fleet of PHABRIX and Leader’s rasterizers and wave form monitors for fault…

Colourist Luke Morrison Takes Colour a Step Beyond for FilmLight Colour Awards

Colourist Luke Morrison from Electric Theatre Collective talks about his career so far, how to stand out from the crowd and what he’s…

Adobe Integrates New Firefly Generative AI Models into Creative Workflows

Adobe Firefly generative AI models and features are impacting artists’ creativity and use of Creative Cloud applications, increasing…

PostHero Builds Remote Post System on Blackmagic Cloud Store

PostHero is a remote post workflow service that combines Blackmagic network storage hardware, DaVinci Resolve Studio software and…

Colourist Paul Ensby on Growing Up in Colour

Colourist Paul Ensby from Picture Shop talks about his roots in a family of colourists, starting in film, working on early DI project…

Raúl Lavado on Dedicating a Career to Colour, Art and Technology

Colourist Raúl Lavado Verdú talks about becoming a colourist, why he likes grading on the Baselight grading system, and two of his top…

Colorfront Develops 8K/HDR Streaming Tools, Updates Mastering Workflows

At NAB 2023 Colorfront demonstrated new capabilities for streaming and working remotely 8K/HDR with video and how all of its tools now…

Adobe Premiere Pro and After Effects Gain Speed and Intelligence for Video Post

Adobe’s Creative Cloud applications, showing at NAB 2023, focus on AI-powered text-based video editing, GPU acceleration, automated colour…

Adam Dolniak Finds the Colour of Amazing for ‘The Amazing Maurice’

Adam Dolniak, a Baselight colourist experienced in live action work, here talks about his first animated project, relying on the software’s…

DaVinci Resolve Brings Indian Spectacle ‘Kantara’ to Worldwide Audience

‘Kantara’ draws India’s vibrant cinematic style to international attention, using colour tools in Resolve to highlight the story’s…

Time in Pixels and AJA Push Ahead with Video Analysis for Post

Time in Pixels and AJA are working on software products that help filmmakers, colourists and post teams analyse video sources and imagery…

Damien Vandercruyssen Defines the Colour of Dreams for 'Bardo'

Colourist Damien Vandercruyssen at Harbor in LA worked on Baselight with cinematographer Darius Khondji to create elusive but memorable…

Heckler Introduces a New VFX Supervisor, Two Studios and a New Website

Heckler post-production studio in Sydney reveal their new VFX Supervisor Julian Ford in a special conversation, plus news of their new…

InSync Enhances FrameFormer Conversion Quality and Viewer Experience

FrameFormer now achieves higher real time conversion quality using CPU only, while reducing demands on processors, and is also available on…

Union VFX Moves its CG Pipeline to USD Format

VFX studio Union has made a significant investment in their facility’s CG department with a new USD-based pipeline and two key hires.

Cinegy Capture CAPTURES ENVY’s New Remote Workflow Service

ENVY's new division called CAPTURE specialises in remote post workflows, delivering record and media management on location, tailored to…

The Finish Line Completes UHD / HDR Picture Post for ‘I Am a Killer’

Finishing Artists Zeb Chadfield and Steve Alexander at The Finish Line set up a distributed full post workflow for Netflix’s crime…

Racoon Adds Baselight TWO, Blackboard and a new Senior Colourist to the Team

With senior colourist Enge Gray now on their staff and a number of UHD/HDR projects coming in, Racoon purchased the Baselight TWO grading…

HIT Productions Deploys Flexible Dante AV Throughout New Post Studio

HIT Productions implemented Dante AV video system to transport all audio and video signals through their new studio, resulting in flexible,…

Tashi Trieu Delivers on Post and Colour for ‘Avatar: The Way of Water’

Colourist Tashi Trieu combined his understanding of VFX, motion picture imaging, colour science and digital post workflows with grading…

Digital Film Technology Appoints Gunter Weidlich as Managing Director

DFT film scanning developers has a new Managing Director Gunter Weidlich, formerly a founding DFT MD involved in developing the Spirit…

ARC EDIT and ARC FILM Stay on the Edge with Post and Mastering Workflows

ARC’s Joseph Perkins talks about what it takes to keep producers, artists and technicians working under optimal conditions – from Avid…

ETC Adopts FilmLight FLUX Store for Flexible Post Storage Management

Electric Theatre Collective chose FLUX Store to support its move into longform post with adaptable, efficient storage that can store and…

Award-Winning Colourist Natasha Leonnet Joins Picture Shop

Picture Shop announced that artist Natasha Leonnet, HPA Award winner for her contribution to ‘Spider-Man: Into the Spider-Verse’, has…

PHABRIX Develops Waveform Monitoring for Qx and QxL Rasterizers

PHABRIX’s new waveform instrumentation for Qx and QxL rasterizers delivers fine detail for camera shading or grading but keeps the…

Aljoscha Hoffmann Tells the Story in Colour for ‘Dear Mr Führer’

Colourist Aljoscha Hoffmann talks about recreating a historic film look in Baselight with DoP Tim Kuhn for this award-winning movie for…

Aljoscha Hoffmann Tells the Story in Colour for ‘Dear Mr Führer’

Colourist Aljoscha Hoffmann talks about recreating a historic film look in Baselight with DoP Tim Kuhn for this award-winning movie for…

John Daro Masters the Power of Colour from Science to Storytelling

John Daro, Lead DI colourist at Warner Bros, talks about how his mastery over colour transforms, and use of colour to communicate a…

AJA Diskover Simplifies Data Processing, Search and Storage at IDC

IDC develops automated data processing workflows aligned with today’s remote operations, security issues and media file sizes, using AJA…

Cinemateca Boliviana Restores Historical Cinema with Blackmagic Cintel Scanner

Cinemateca Boliviana uses the Cintel scanner to restore film content that otherwise would be impossible to preserve. Cintel Scanner G3 HDR+…

Colorfront Supports AWS CDI to Build Live Cloud-Based Video Workflows

Colorfront Streaming Server now supports AWS Cloud Digital Interface networking, opening opportunities for collaborative, cloud-based…

Sydney Colourist Takes ‘Heartbreak High’ Back to School on DaVinci Resolve

Colourist Fergus Rotherham used DaVinci Resolve Studio and DaVinci Resolve Advanced Panel to grade the new 4K HDR series of ‘Heartbreak…

DaVinci Resolve 18.1 Upgrades Social Media Output, Audio and Smart Tools

DaVinci Resolve 18.1 has vertical resolutions for social media and DaVinci Neural Engine AI-enabled voice isolation, Fairlight vector…

Mistika Workflows Updates Metadata and Automation with New Smart Features

SGO’s Mistika Workflows for media management, transcoding and delivery now has smart features to optimise content delivery processes and…

Marquise Technologies ICE Prime Monitors All Standards from the Desktop

Marquise Technologies’ new version of ICE Player for the QC and real-time playback of broadcast, digital cinema and OTT industry standards…

AJA ColorBox Assures Colour Accuracy Across Broadcast, Production and Post

AJA’s new device handles algorithmic and LUT processing using HDR/WCG transforms, loading, modifying and saving looks, and creating…

NICE Shoes Colourist Polishes Florida’s Sunny Gulf Coast for ‘Life’s Rewards’

NICE Shoes’ Lenny Mastrandrea colour graded Amazon Prime dramatic comedy series ‘Life’s Rewards’, developing its natural links to the story…

Conductor Enterprise Automates Render Scheduling and Monitoring

Conductor Enterprise adds virtual render wrangling and and reactive user management controls, custom encryption capabilities and…

Digital Orchard Welcomes New Colourist Jo Barker

Film and digital services company Digital Orchard will be joined by colourist Jo Barker, expanding its existing picture-post, in-house…

Harbor’s Colourists Pump Up the Grade for ‘Super Pumped’ on Baselight

Co-working colourists at Harbor in London shared ideas and skills on Baselight to develop a contemporary look for this super modern story,…

FilmLight Colour Awards 2022 Celebrates the Art of Colour Grading

The FilmLight Colour Awards celebrates the art of colour around the world, reflecting the cultural, visual and technical values of the…

Light Iron Strengthens its Management Team with Two New Hires

Andy Kaplan joins as Senior Vice President of Operations, Peter Lin as Director of Finance at Light Iron post-production creative services.

DNEG to Launch xSTUDIO as Open Source Playback and Review Application

DNEG is planning the upcoming launch of xSTUDIO, a flexible playback and review application designed to serve content creators throughout…

Streambox and Blackmagic Integrate for Remote Post Workflows in the Cloud

Streambox software works with Blackmagic UltraStudio and DeckLink devices and DaVinci Resolve Studio to create custom post production and…

Colorfront Express Dailies 2022 Supports New ACES AMF Workflows

At Cine Gear Expo 2022, Colorfront shows Express Dailies 2022, ready to adapt to new set-to-post workflows with the ACES Metadata File that…

DaVinci Resolve Brings Expressive Looks to Oscar winner ‘Drive My Car’

Colourist Yumeto Kitayama used DaVinci Resolve Studio to prepare working LUTs for the film, and then to create temperature and atmosphere…

DaVinci Resolve Studio Handles Grade, Online, Conform for 'Writing With Fire'

Bridge PostWorks handled post for Oscar-nominated documentary ‘Writing With Fire’, relying on Resolve Studio’s tools for colour, plus…

MTI Film Develops AI-Assisted Frame-Rate Conversion, Camera Motion Analysis

MTI developed an AI-assisted tool for frame-rate conversion for Cortex and camera motion analysis in DRS Nova, efficiently handling common…

The Finish Line Adds Colour and Emotion to Worldwide Motorcycle Treks

The team at The Finish Line talk about working with video, captured around the world on myriad cameras, in DaVinci Resolve using tools from…

Charles Bunnag Brings a Fresh Approach to Colour at Light Iron

Colourist Charles Bunnag talks about his experiences of moving from the world of VFX, to colour grading VFX blockbusters, and shares ideas…

The Hardy Boys S2 Gets a New Look on Mistika at Eggplant Picture & Sound

The finishing team at Eggplant Picture & Sound in Toronto handled the conform, VFX pulls, grade, online and a portion of compositing for…

Colorfront Dailies and Transkoder Gain ACES, Dolby, Apple M1, Frame.io Support

Colorfront’s dailies and transcoding systems are updated with colour pipeline capabilities and DCP/IMF mastering tools, plus a new…

SMPTE’s New IMF App for Broadcast Will Soon Join IMF Family

SMPTE developed an IMF App specifically for the many broadcasters using AVC compression, allowing editorial changes to a program master…

'Everest' Returns to Large-Screen Cinemas in a New 16K Restoration

MacGillivrary Freeman Films completed a 16K restoration of classic large-screen documentary ‘Everest’, 25 years after its debut, using MTI…