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MPC and The Mill to Collaborate as One Brand Supporting Creative Production

MPC and The Mill divisions are joining forces to create a unified global creative studio operating under The Mill brand with infrastructure to deliver across platforms and markets.
Post
MPC and The Mill to Collaborate as One Brand Supporting Creative Production
AJA Colorfront Transkoder TKD dual view
Post

AJA KONA IP25 Integrates with Colorfront Software for Faster, Simpler Workflows

Post teams using AJA's KONA IP25 and Colorfront software can now access ST 2110’s greater throughput to accelerate and simplify local and remote dailies, transcoding and streaming.
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Cem Ozkilicci Puts FilmLight’s Baselight v7 to the Test

Independent colourist Cem Ozkilicci took part in FilmLight’s Baselight v7 beta, putting new features like Transform Matching, Depth Keyer and Segment Anything through real‑world tasks.
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Post

Studio Hamburg Builds a New ‘Red Roses’ Post Pipeline on DaVinci Resolve

Studio Hamburg has now moved its picture and audio post production pipeline in-house, using DaVinci Resolve Studio to replace legacy tools and outsourced services with a unified workflow.
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Post

Blackmagic Cintel Rediscovers Looks and Stories in Classic Films at Anónima Post

Anónima Post uses a Cintel Film scanner and DaVinci Resolve Studio to design and manage the complex workflows their team uses to restore films more than 50 years old.
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Post

WeMakeColor Becomes Hybrid Baselight and DaVinci Resolve Grading Facility

Colour grading studio WeMakeColor in Mexico integrated Baselight alongside DaVinci Resolve, allowing the team to customise its approach to creative and technical demands of each project.
EIZO ColorEdge CS3200X
Post

EIZO’s 31.5-inch 4K Monitor Supports Consistent, Precise Colour Workflows

The new EIZO CS3200X combines capabilities for diverse workflows, supporting videographers, photographers, designers and other visual storytellers who rely on accurate, predictable colour.
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Post

Colorfront Builds On AI/Automation Tools, Dolby and Apple Collaborations

Colorfront introduces new AI, automation and usability features into Transkoder 2026 mastering and transcoding software, and extends Dolby Vision and Apple Immersive workflows
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DaVinci Resolve Studio Gives a Polished Colour Grade to Sci-Fi Thriller Kraken

Colourist Dylan Hopkin talks about using DaVinci Resolve Studio’s VFX, HDR and AI-driven tools to balance human drama with creature horror in the Norwegian sci-fi thriller ‘Kraken’.
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Vicki Matich on Colour Grading for Authenticity in TV and Film

A colourist of 20 years, Vicki Matich sees many trends influencing looks in film and TV. Today, she says, filmmakers favour subdued, restrained colour grading over bold, overtly stylised looks
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Post

Park Jin-ho Pulls a Story from Colour and Contrast in 'No Other Choice'

Park Jin-ho talks about grading No Other Choice on Baselight with the director and DP, who wanted to convey the story and emotions not only through images, but by using colour itself.
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Baselight v7 Arrives with Smarter Mattes, Faster Workflows and Closer Control

Baselight v7 gives special attention to VFX- and detail-heavy productions with machine-learning tools, redesigned matte and channel workflows, and performance and pipeline improvements.
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Post

Limecraft Cloud Platform Delivers Live Set Feedback and Multi-Cam AAF Export

Limecraft 2025.8 strengthens daily workflows across production and post of live shows by prioritising user control, real-time insight and efficiency in editorial handovers.

BlueBolt Adds Ben White As VFX Supervisor

BlueBolt BenWhite VFX Supervisor
Independent visual effects studio BlueBolt announces the appointment of award-winning, veteran VFX Supervisor Ben White, further…

RTS Migrates Grading Suites to Resolve, Balancing Overhead with IT Innovation

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RTS constantly balances innovation efforts with value for money, combined with IT requirements for standardisation and infrastructure for…

Colorfront’s Reference-Grade Remote Reviews Perfect Colour Workflows

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Head of colour Science at Harbor Matthew Tomlinson talks about using Colorfront Streaming Server to gain creative confidence. With…

Phantom Media Group Launches to Unite VFX and Animation Talent

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Phantom Digital Effects consolidated its studios into a global creative collective called Phantom Media Group, after the recent addition of…

ARTONE FILM Integrates Baselight M to Elevate Mac-based Colour Workflow

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ARTONE post-house in Tokyo is the first facility in Japan to integrate Baselight M, choosing its precise look development controls to help…

Nara’s Real-Time Media Access and Collaboration Unifies Harbor’s Global Studios

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Harbor post integrated Nara across global facilities to enhance infrastructure, support real-time collaboration and give producers, artists…

Maxon One Opens Creative Options For VFX, Motion Graphics and 3D Modelling

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Maxon One 2025 accelerates and simplifies workflows by easing technical barriers, opening new creative options for VFX, motion graphics and…

Colourist Sam Chynoweth Walks the Line from Memory to Life for Black Mirror

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In the last of a 3-part series, senior colourist Sam Chynoweth at The Farm talks about grading the most recent season of ‘Black Mirror’,…

Colourist Sam Chynoweth Recreates Looks from the Past for Black Mirror Series 7

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In this 3-part series, senior colourist Sam Chynoweth at The Farm talks about grading the most recent season of ‘Black Mirror’, delivering…

EngineLab and AWS Support Studios on the Way to Cloud-Based Production

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EngineLab works with Amazon Web Services (AWS) to help creative teams manage the time and resources needed to build cloud workflows for…

Colourist Sam Chynoweth Creates a Look in the Mirror for Black Mirror Season 7

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In the first of a 3-part series, senior colourist Sam Chynoweth at The Farm talks about grading the most recent season of ‘Black Mirror’,…

FilmLight Looks Back on 2024 Award Winners

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The FilmLight Colour Awards draw attention to the artistry and technical precision of colourists who bring the magic of colour to projects…

FilmLight’s Daniele Siragusano Looks into the Future of Colour in Filmmaking

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Image engineer Daniele Siragusano talks about integrating ML and AI into Baselight, aiming to improve control and efficiency for…

Molinare Chooses Nara to Enhance Efficiency in Post-Production Pipelines

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Nara gives fast, secure access to media in any format at any of Molinare’s locations – for both staff and clients – and will soon be used…

Founder Rob Harvey on Taking Risks, VFX and Life at Lola Post

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Rob Harvey, founder, Creative Director and award-winning VFX Supervisor at Lola Post Production, talks about building, growing and…

Colorfront Shows HDR Cinema Mastering Tools at CineEurope 2025

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Colorfront demonstrated mastering workflows with its own HDR Cinema Tools alongside HDR projection systems from Christie and Barco,…

Squid Game Season 2 Takes Another Chance at Colour, Drama and Life

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DoP Kim Ji-yong and Colourist Park Jin Young talk about working together on season 2 of ‘Squid Game’, shot on ALEXA 35, using light, colour…

DaVinci Resolve Brings New Zealand’s 'Shortland Street' into the Streaming Era

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Adopting Resolve means long-running drama Shortland Street has a modern new look, and its post team can keep the entire workflow in one…

Colourist Tom Cairns Builds Looks and Stories with Brick and Mortar

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Colourist Tom Cairns talks about launching Brick and Mortar, his new post facility in Glasgow, and installing Baselight grading suites and…

DaVinci Resolve Studio Takes an Editorial Role on Anime Feature ‘Look Back’

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Film editor Kiyoshi Hirose talks through the special case of editing anime productions, and how DaVinci Resolve and Blackmagic Cloud can…

Nara’s Updates Enhance Efficiency, Security and Speed in Post Workflows

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Nara shows new features at MPTS including analytics tools, real-time transcoding capabilities, a smart project management feature, plus…

Filmmakers Find the Colour of ‘Dreams’ in Baselight 6’s New Tools

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Colourist Christian Wieberg-Nielsen talks about techniques, discussions and Baselight 6 tools that led to a very specific look as he, the…

Maxon One Speeds Up 3D and Animation, Design and Post Workflows

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Maxon One’s most recent set of updates introduces new features and tools to ZBrush for desktop and iPad, Red Giant, Maxon Studio, Cinema…

DaVinci Resolve 20 Upgrades with AI-Driven Tools, Audio and Cloud Innovation

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DaVinci Resolve 20 has over 100 new features and AI-supported tools for filmmakers, editors and colourists working in video editing and…

DaVinci Resolve Edits and Grades Vibrant Fantasy in ‘Rains Over Babel’

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‘Rains Over Babel’ relies on timing, rhythm and structure to tell its story. Two editors and a colourist collaborated in DaVinci Resolve to…

Avid Expands its Executive Leadership Team

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Avid has expanded its executive leadership team with the appointment of three experienced executives - Tom Sharma, Dominic Constandi and…

FilmLight Baselight Software is Now Ready to Run on macOS Systems

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FilmLight makes two new versions of Baselight grading software available that run on user-supplied Apple macOS systems, with all features…

Harbor Upgrades UK Advertising and LA Studio with Top New Hires

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Harbor Picture Company has appointed new artists to the leadership team of its London Advertising VFX division, and appointed Paul Yacono…

‘The Brutalist’ Under the Skin – Post Workflows with Signiant Media Shuttle

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Editor David Jancso talks about the mechanics of major film productions like 'The Brutalist', when volumes of large file transfers and…

Harbor to Join the Avant-garde with Colourist Karim El Katari from France

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Harbor has signed Karim El Katari, a French colourist from Paris whose work is known for avant-garde vision and ability to elevate…

Innervision Selects Sony Projector for Cinema Colour Grading Suite

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Innervision purchased Sony’s VPL-GTZ380 projector, making a complete a range of colour grading services available both for cinema screens…

Light Iron Integrates Nara for Secure, Efficient Post Workflows

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Light Iron uses Nara to handle file navigation, content streaming and information sharing workflow efficient through a single, secure…

Douglas Delaney Joins Light Iron as Supervising Colourist

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Light Iron, the post-production creative-services division of Panavision, has hired Douglas Delaney to the company's artist roster as a…

Creating a Supernatural Colour Grade for ‘Salt Along the Tongue’

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Colourist Daniel Pardy talks about building a working LUT for this film with a distinctive 16mm film look, helping the production make…

FilmLight REMOTE Delivers High-Quality, Low-Latency Remote Grading

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FilmLight REMOTE, dedicated software for remote colour grading gives post teams the infrastructure to work remotely without sacrificing the…

Avid Brings Post and Collaboration to Life at Renegade Animation

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At Renegade Animation studio, Avid’s Media Composer NLE and NEXIS production storage are a robust, reliable editing system for episodic…

Adobe Saves Time with Updates in Premiere Pro, After Effects and Frame.io

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Adobe Premiere Pro (beta), After Effects (beta) and Frame.io have a new set of updates that focus on saving time on everyday tasks – from…

RE:Vision Effects Twixtor Frame-Rate Conversion Plug-ins Are Now Standalone

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RE:Vision Effects’ Twixtor time frame manipulation plug-ins, used to convert frame rates and add slow or fast motion effects to videos, are…

Defining the Real Gotham City in Colour and Light for ‘The Penguin’

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Pankaj Bajpai talks about grading the HBO crime thriller series ‘The Penguin’ on Baselight, bringing the look and feel of the movie ‘The…

Leostream and CineSys Enable Hybrid Post at Republic Creative Studios

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Republic studios deployed Leostream’s Remote Desktop Access Platform as a remote technical infrastructure supporting high-performance…

Light Iron Chooses Nara to Unify Media Access, Streaming and Indexing

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Light Iron uses Nara for file navigation, content streaming and information sharing through a single, secure interface to help them…

Aidan Stanford Brings Colour to 'Interior Chinatown' in DaVinci Resolve Studio

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Colourist Aidan Stanford at ArsenalFX Color created and managed a complex grade with distinct looks, transitions and effects in Davinci…

Molinare’s Ross Baker Brings a Love of Colour to Television and Film

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Ross Baker, senior colourist and head of grading at Molinare in London, talks about building his career from telecine departments to…

ORION-CONVERT Pipeline and AJA ColorBox Simplify Colour for Live Productions

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Cromorama’s ORION-CONVERT Pipeline for colour management and QC helps live video producers control looks and manage a diverse range of HDR…

Molinare Welcomes Carlotta Rio to its Colourist Team

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Carlotta Rio joins Molinare as Senior Colourist, bringing extensive experience across high-end documentary and episodic scripted projects.

Deidre McClelland Finishes and Grades Memoir of a Snail in DaVinci Resolve

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Deidre McClelland, CSI, worked with animator Adam Elliot in Resolve Studio to produce the deliverables and develop looks capturing the…

Harbor Expands with Dedicated Dailies Facility at Shepperton Studios

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Harbor has opened a new dedicated dailies facility at Shepperton Studios, purpose-built with a HDR grading and screening room, furthering…

Light Iron Welcomes Andrew Geary as Senior Colourist

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Light Iron announces that Andrew Geary has joined the company as Senior Colourist, further strengthening the company's top-level team of…

Framefloor Builds Creative Post Workflows on AJA Gear

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Framefloor’s team uses AJA’s Io 4K Plus hardware to ingest, work with and output a huge range of formats over 12G-SDI and HDMI for their…

DaVinci Resolve and Fusion 19.1 Update Multi-cam, Audio and VFX Workflows

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DaVinci Resolve and Fusion Studio 19.1 include features to speed up and improve control over post workflows with better object mask…

Colourist Claudio Del Bravo Masters Colour and Light, Frame by Frame

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Colourist Claudio Del Bravo talks about growing his career, building a studio in Rome from the ground up, and creating looks for projects…

Colour Grade in DaVinci Resolve Studio Tells a Civil War Story in The Damned

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Colourist Natalia Raguseo talks about the tools she used in Resolve to build the look from the natural lighting and landscapes recorded on…

Wounded Buffalo Studio Specialises in Natural History Soundscapes on Avid

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The team at Wounded Buffalo Sound, known for natural history audio production, talk about using the right gear to stay at the top of an…

Blackmagic Cloud Collaborative Workflow Brings RKM Studios’ Vision to the Screen

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RKM Studios designed a collaborative workflow based on Blackmagic Cloud that kept all aspects of their music video project underway…

Colour Grade Brings History, Mythology and Drama to Life for Thangalaan

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John Sriram talks about grading Thangalaan in Baselight, bringing colour to the historical drama about workers at India’s Kolar Gold…

Preymaker Opens Cape Town Studio, Launches Recruitment and Scholarship

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Creative + Technology studio Preymaker has announced the opening of a new studio in Cape Town, SA. They are actively recruiting artists and…

MPC and Mikros Animation Welcome Senior Technology Officer Doug Bloom

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MPC and Mikros Animation have appointed Doug Bloom as Senior Technology Officer, bringing over 25 years experience in VFX, animation,…

Colourist Pankaj Bajpai Changes the Colour of Historical Drama for ‘Bridgerton’

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Pankaj Bajpai at Picture Shop talks about grading and creating looks for Netflix’s ‘Bridgerton’ using Baselight to create onset LUTs and…

Adobe Updates Premiere Pro Colour Management and After Effects 3D Workspace

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Adobe’s Premiere Pro (beta) upgrade helps editors meet new demands for colour management; After Effects adds tools that blend 3D objects…

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

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The Premiere Plugin synchronises Premiere Pro’s project panel bin with Moments Lab's Hub, making their MXT-1.5 multimodal AI engine for…

FilmLight Nara Simplifies Access to Data and Project Management

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FilmLight’s new version of Nara, software for post workflows, is coming to IBC with streaming features for data and file access, project…

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

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BSQUARED post studio make flexibility, collaboration and top quality work their priorities, using DaVinci Resolve with Blackmagic Cloud and…

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

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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…

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

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Arsenal chose the 4K Sony BVM-HX3110 to work alongside their fleet of BVM-HX310 monitors, pleased with the colour rendition, improved…

Colour and Cinematography Push Time and Place on TV Series Eric

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Colourist Toby Tomkins and cinematographer Benedict Spence talk about creating the look for TV series ‘Eric’, shooting on ALEXA 35 and…

EditShare Wiredrive Keeps Stories on Track at Offroad Films

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Offroad Films uses Wiredrive cloud media-sharing service to create and present showreels and pitch reels to clients and as a centralised…

Tim Belcher Joins Light Iron as New Managing Director

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

Cinematographer Mandy Walker to Judge at FilmLight Colour Awards

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Australian cinematographer Mandy Walker, a judge in the 2024 FilmLight Colour Awards, says she’ll be looking for colour that works with the…

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

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TV series ‘Shōgun’ was graded remotely at The Mill by colourist Elodie Ichter. With creative freedom to create a look entirely from…

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

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Colourist Eric Whipp talks about working remotely with his team between LA, Toronto and Sydney to build the looks on Baselight that tell…

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

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Colourists Jean-Clément Soret and Matthieu Toullet talk about grading the series with the DoPs on Baselight, from continuity challenges to…

Dimension Studio Receives Major Investment to Support International Expansion

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Dimension virtual production studio receives investment from Growth Catalyst Partners with the goal of extending the potential of virtual…

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

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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’

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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

Preymaker Mark Sanna
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

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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

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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

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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

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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

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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

Colorfront Dolby Vision SDR to HDR Butterfly
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

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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

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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

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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

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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

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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

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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

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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

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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

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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'

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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

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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

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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

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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

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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

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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

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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

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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'

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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 Ci Updates 2024
Sony’s Ci Media Cloud media management now features a subscription Tier for small to medium businesses, a desktop file transfer app and…
  1. MPC and The Mill to Collaborate as One Brand Supporting Creative Production
  2. AJA KONA IP25 Integrates with Colorfront Software for Faster, Simpler Workflows
  3. Cem Ozkilicci Puts FilmLight’s Baselight v7 to the Test
  4. Studio Hamburg Builds a New ‘Red Roses’ Post Pipeline on DaVinci Resolve
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