Daphne FilmLight

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  1. Experts from around the world to judge prestigious awards With entries now being accepted, the judging panel is building up for the 2022 FilmLight Colour Awards. The awards, which recognise the finest work from colourists using any technology platform and working in any genre, will again be presented at EnergaCAMERIMAGE in November. “La critique est aisée, l’art est difficile (Criticising is easy, art is difficult)!” comments Yvan Lucas, senior colourist at Company 3 in LA and one of the newest members of the 2022 judging panel. “It's a first for me to be on the judging side, as it’s usually my work in the spotlight in collaboration with directors and cinematographers. I’m excited to join renowned cinematographers and experts in colour on the jury this year and see what hidden gems might emerge.” Cinematographer Sherri Kauk added, “I’m honoured to be involved in the 2022 FilmLight Colour Awards. I’m especially looking forward to seeing the entries in the new Spotlight category this year, which celebrates the work of colourists who grade off-Hollywood, independent and international features.” 2022 Colour Awards jury members include: Ari Wegner, ACS, an Academy award-winning Australian cinematographer and first female recipient of the BSC Best Cinematography in a Theatrical Feature Film award, for Jane Campion’s The Power of the Dog. Yvan Lucas, French born senior colourist at Company 3 in Los Angeles. Yvan’s career has involved creative collaborations with a long list of iconic cinematographers. Highlights include The Irishman, Snowpiercer, Once Upon a Time in Hollywood, Django Unchained, Argo, Shutter Island, Inglorious Basterds and Seven. Christopher Ross, BSC, is an award-winning Cinematographer and President of the British Society of Cinematographers. Ross’s varied credits include Cats, Yesterday, Black Sea, Detour, Dad’s Army, Everybody’s Talking About Jamie and TV Series Trust, Top Boy and the award-winning E4 series Misfits. Andreas Brueckl, creative director and head colourist at Genomedia Studios in the United Arab Emirates. Andreas has gained an excellent reputation in Europe, the Middle East and Asia and can now also be found consulting production companies and OTT platforms on visual and technical strategies. Daphne Dentz, senior VP, emerging formats, mastering & content acquisition for Warner Bros. Content Creative Services. In her role, Daphne oversees the delivery of new feature films, episodic television, and catalogue masters for the Warner Bros. Pictures Group. Maxine Gervais, senior colourist at Picture Shop in Los Angeles, has worked on countless blockbusters, critically-acclaimed feature films, and hit episodic shows; Maxine has established an impressive career as a finishing artist and is now just short of 100 credits to her name. Sherri Kauk, an Emmy-winning cinematographer and 2020 Variety Rising Star. Sherri’scinematography highlights include Sex Appeal (Hulu), the SXSW feature Loev screening on Netflix, and season 3 of the Snapchat series Endless Summer. Stephen Lighthill, ASC, Oscar-nominated cinematographer and president of the ASC 2020-2022. Stephen is a regular jury member at the Camerimage cinematography festival. He is currently the discipline chair for cinematography at the American Film Institute (AFI) Conservatory. Mark Ma, deputy general manager of China Film Studio and highly successful director and producer. Mark has been a pillar of the Chinese cinema industry, helping to implement digital intermediate in film production in China in the early 2000s. Cao Yu, ASC, leading Chinese cinematographer and founder of production company Bad Rabbit Pictures. Serving as DoP, he has collaborated with acclaimed directors Lu Chuan, Wong Kar-wai, Chen Kaige and Guan Hu on multiple projects and also served as executive producer on The Cord of Life. Bobola Oniwura, creative director and lead colourist at Ingenuity Pictures in Nigeria, working on films for Nollywood, Africa’s biggest film industry. He is a full member of the Colorist Society International (CSI) and a certified trainer. Toby Tomkins, colour evangelist and all-round ‘King of Craft’, Toby Tomkins is CHEAT’s founder and a senior colourist. Over a decade of experience has earned him high-profile commercial clients, and an extensive portfolio of award-winning TV shows, short and feature films. Matthew Tomlinson, colour scientist at Harbor, where he delivers colour consistency and creative look development for feature films, episodic, documentary, and premium advertising from set-to-screen. Eben Bolter, BSC, has built his career as a cinematographer by concentrating on film and TV dramas with bold visual stories. He was awarded the BAFTA breakthrough award in 2016 for his work on the film Chicken, and is currently shooting HBO’s The Last of Us. “The FilmLight Colour Awards are very deliberately pan-industry, so it is really important that we have creative and technical viewpoints reflected in our judges, as well as the global viewpoint,” Jacqui Loran added. “We are continuing to work to make our panel as representative as we can, as we move towards the judging phase later in the year.” The call for entries is now open, with a deadline of 31 July. A shortlist will be announced in the autumn, with the winners unveiled in November at this year’s EnergaCAMERIMAGE, in the 30th year of this prestigious festival. https://www.filmlightcolourawards.com
  2. FilmLight invites you to a special week of colour workshops at the private Dolby Screening Room in London. Our three courses, which include an exclusive ‘Baselight 6 Sneak Peak’ day, cover the fundamentals of colour grading, colour spaces and media management in Baselight. Check out the available sessions and register here: https://www.filmlight.ltd.uk/store/events/baselight-week-london/
  3. Following a hugely successful debut in 2021, nominations are now being invited for the FilmLight Colour Awards 2022. This year’s awards, which will again be presented at EnergaCAMERIMAGE in November, include a new category celebrating the work of colourists on lower budget, independent and international features. Watch the 2022 trailer for the Colour Awards: https://vimeo.com/698617437 And read full details on the categories, entry rules and the jury on our website: https://www.filmlightcolourawards.com
  4. Following a hugely successful debut in 2021, nominations are now being invited for the FilmLight Colour Awards 2022. This year’s awards, which will again be presented at EnergaCAMERIMAGE in November, include a new category celebrating the work of colourists on lower budget, independent and international features. Watch the 2022 trailer for the Colour Awards: https://vimeo.com/698617437 And read full details on the categories, entry rules and the jury on our website: https://www.filmlightcolourawards.com
  5. Join us for free training courses in LA December 7-9, 2021. FilmLight Training invites you to a special week of color training at the FilmLight office in Los Angeles. Our three free courses cover the fundamentals of color grading, color spaces and media management in Baselight. Each course/day is different, and dedicated to a different audience... from an introductory level to more advanced operation, and combines demonstrations of techniques and features as well as hands-on exercises. More information and registration: https://baselightweek-la.eventbrite.com
  6. FilmLight reveals first ever Colour Award winners live from EnergaCAMERIMAGE After a long and careful evaluation process, the honours have been distributed: the winners of the first-ever FilmLight Colour Awards were announced at a special ceremony as part of EnergaCAMERIMAGE on Sunday, 14 November. The ceremony included a panel discussion with several of the winners in attendance and others joining in online, in a hybrid presentation watched live by many across the globe. The award for the grading of a theatrical feature went to Eric Weidt, who worked with DoP Erik Messerschmidt on Mank. Shot on an 8K RED camera, the movie is striking for its 30s Hollywood look combined with the crystal-sharp resolution. The top two entries for the television series/episodic category could not be separated, and so each was awarded a trophy. The Fargo episode ‘East/West’ was an homage to the classic movie The Wizard of Oz. Colourist Tony D’Amore of Picture Shop dug deep into tools available to track mattes to blend monochrome and colour, with beautiful footage shot by DoP Dana Gonzales. Placed alongside Fargo was Damien Vandercruyssen’s work at HARBOR on the series Lisey’s Story, episode ‘Lisey’s Story’, shot by DoP Darius Khondji. The storyline blended reality and dreams, and the grade emphasised the differing environments, including startling marbleised faces. Tim Masick at Company 3 took the award for best grading in a commercial, with a stunning spot for the Dior Spring Summer 2021 Collection, shot by DoP Benoit Delhomme. The striking commercial used chiaroscuro, putting strong skin tones in sharp contrast with the moody settings, very much in the style of Caravaggio. There was also a fourth award, for the most innovative use of Baselight as the grading platform. Gilles Granier, Fabien Napoli and Arnaud Caréo from Le Labo, Paris worked in partnership on Miss to establish the highly individual look of the movie, and together they developed their own gamut manipulation toolbox within Baselight. Both Eric Weidt and the team from Le Labo were in attendance for the presentation at EnergaCAMERIMAGE, while the other winners took part from their home countries. There was also an online appearance from DoP Benoit Delhomme to discuss his amazing photography on the Dior Spring Summer 2021 Collection and his collaboration with colourist Tim Masick, and also DoP Dana Gonzales discussing his work with colourist Tony D’Amore on Fargo. “All of us at FilmLight are really excited by the reception the industry has given the Colour Awards, and by the extraordinary work the finalists and winners presented,” said Jacqueline Loran, Director at FilmLight. “We are very grateful to our partner bodies and of course to the judging panel, but we are even more honoured by the response we saw from colourists across the world. “This was the first FilmLight Colour Awards,” she added. “Already we can see that the mood is there to celebrate the amazing art of the colourist in every respect, and we have plans to make the 2022 edition even more exciting.” The awards were organised in conjunction with EnergaCAMERIMAGE, the American Society of Cinematographers, Imago (the International Federation of Cinematographers) and CSI (Colorist Society International). They were judged by an international panel of well-known directors, DoPs and colourists.
  7. Register now for our next live webinar : https://register.gotowebinar.com/register/3176237715828844813?source=WebColour at Camerimage 2020Thursday, December 10In this exclusive discussion, FilmLight interviews the colourists behind some of the biggest hits of the 2020 Camerimage International Film Festival.We’ll introduce you to five films graded on Baselight in this year’s festival line-up, including the winner of the Golden Frog itself (Nomadland) as well as the winner of the Silver Frog (Helene). Panelists include Elodie Ichter (Harbor), Pentti Keskimäki (Post Control), Anthony Raffaele (Sim), Paulino Fernández Ibáñez (Luciernaga) and Tom Russell (LipSync).
  8. Colour Online: ‘Почему Baselight?’ Вторник, 24 ноября 2020 с Энди Минутом, FilmLight Colour Workflow Specialist FilmLight рад объявить о проведении вебинара специально для русскоязычной публики. Энди Минут расскажет об уникальных преимуществах главного продукта FilmLight - системы цветокоррекции Baselight. Вебинар пройдет на английском языке с синхронным переводом на русский. https://form.jotform.com/203154627535353 _____________________________ Colour Online: Why Baselight? Tuesday, 24 November 2020 with Andy Minuth, FilmLight Colour Workflow Specialist In this session FilmLight will reinforce its commitment to the Russian-speaking community. Andy Minuth will shed some light on the unique strengths of FilmLight’s flagship product, the Baselight colour grading system. This session will be translated into Russian live from English. https://form.jotform.com/203154627535353
  9. Registration is now open for our next Colour Online webinar: Developing Digital Images with Andy Minuth, FilmLight Colour Workflow Specialist Tuesday, October 27 In this new live webinar, Andy demonstrates best practice for developing digitally acquired images and for building a layer stack. https://register.gotowebinar.com/register/5739623730711649548?source=Facebook&fbclid=IwAR0KeAr4aRxViPvAEeu92GiZMmZwZ_VGBWeOD9P8VsgAs7Hd5zl37CiIyBo
  10. Aljoscha is a colourist at CinePostproduction in Munich. While he mainly works on new feature films and TV series, he recently had the opportunity to grade the remastering of The Neverending Story, director Wolfgang Petersen’s hit film from 1984. Find out about the interview: https://www.filmlight.ltd.uk/customers/meet-the-colourist/aljoscha_hoffmann.php
  11. Advanced Copy and Paste Techniques Thursday, September 10 Covering multi-paste, grouped grading, and using camera metadata and Shots View filters for efficient grade transfer. https://register.gotowebinar.com/register/1241661298439157007
  12. Register now for the ‘Delivering Dailies with Daylight’ webinar Thursday June 18, 18:00 BST This webinar takes you through every step of using Daylight on a production to manage media, sync audio, colour grade, generate reports, and render. https://register.gotowebinar.com/register/1986165908360908303?source=Web
  13. Our next webinar is 'Store, Render, Automate with FilmLight' Thursday May 21, 18:00 BST We dive into the latest hardware & software solutions that we offer to expand storage, render, automation & productivity strategies in post. Register now: https://register.gotowebinar.com/register/3158673013083841040?source=Twitter
  14. Join colourist Raúl Lavado for an introduction to Baselight, FilmLight’s colour grading, VFX and finishing solution. This one-hour live webinar covers the core fundamentals of colour grading, colour space and media management in Baselight. . Project creation in Baselight . Introduction to the user interface and workspaces . Media import and scene navigation . Introduction to colour space management . Baselight most popular Baselight tools During this educational session, Raul will guide colourist apprentices using Baselight STUDENT, FilmLight’s software-only macOS application developed for training purposes Register here: https://attendee.gotowebinar.com/register/4400053525954356235 +++ Iniciación a BASELIGHT, seguido de Q&A Martes, Abril 21. 12:00 CDT Únase al colorista Raúl Lavado Verdu para una introducción a la corrección de color en Baselight, VFX y la solución de acabado de FilmLight. Este webinar en vivo de una hora cubre los fundamentos básicos de la corrección de color, Etalonaje, gestion y administracion de color en Baselight. . Creación de proyectos en Baselight . Introducción a la interfaz de usuario y espacios de trabajo. . Importación de medios y navegación de escena . Introducción a la gestión del espacio de color. . Baselight más populares Baselight herramientas . Panel de Render Durante esta sesión educativa, Raúl guiará a los coloristas utilizando Baselight STUDENT, la aplicación macOS de FilmLight desarrollada con fines de capacitación y entrenamiento. https://attendee.gotowebinar.com/register/4400053525954356235
  15. Jim Bracher, Senior Colourist at Youngster in London, is joined by VFX Artist Robin McGloin to showcase their collaboration on recent projects. https://vimeo.com/391271883
  16. https://bit.ly/2TDUhU4 Rejoignez nous le 28 Janvier à partir de 14h pour des sessions dédiées à tous les créatifs et techniciens en production et post-production ; et en soirée autour d’un cocktail dinatoire au ‘Nord Marais’ privatisé pour l’occasion. -------- Nos spécialistes workflow, Matthieu Straub et Thomas Eberschveiler, dévoileront les nouveaux outils couleur des solutions FilmLight tel que l'outil de correction de déformations optique, le nouveau Hue Angle, la nouvelle version de T-Cam, une introduction à l’API FilmLight, et la gestion des versions VFX dans le Baselight. Nos invités partageront leur expérience de terrain: Dans un premier temps, l’étalonneur Stéphane Azouze présentera le documentaire à venir ‘Woman' bientôt en salles, et discutera de sa collaboration avec les metteurs en scène Anastasia Mikova et Yann Arthus-Bertrand, ainsi que de son travail sur Baselight. Puis Florine Bel, ‘colour scientist’, parlera de son expertise de l’image, avec un focus sur le développement de l’esthétique du film, les espaces couleurs et leurs conversions.
  17. Improving production processes and enhancing pictures with efficient renderless workflows, with Colourist Stephen Edwards, Finishing Editor Tom Chittenden and Head of Post Production David Williams:
  18. With a live presentation on stage from FilmLight Colourist and Workflow Specialist, Andy Minuth, you can explore some of the next-generation tools in Baselight v5 for colour grading and spatial shaping, and discover why the colourist community has adopted them:
  19. Meet with French Digital Imaging Technician Karine Feuillard ADIT, who worked on the latest Luc Besson film ‘Anna’ as well as the TV series ‘The Marvelous Mrs Maisel’, and FilmLight Workflow Specialist Matthieu Straub.
  20. Coding of sensory information changes depending on the stimulation and the environment. Visual adaptation is a highly dynamic process, and we are continuously adapting to the current viewing context. It is continuously regulating our perception and visual experience. Understanding the process of adaptation will tell us not only about our visual system but also about the natural world, because adaptation is highly optimised for natural images. FilmLight Image Engineer Daniele Siragusano will try to put this topic into the context of content creation and colour grading for multi-delivery projects:
  21. With Martin Tlaskal, FilmLight. In this final segment, explore the new input versioning feature in Baselight. Input versioning – either via filenames or making use of the Open Clip XML format – means that a scene can be updated with new versions of shots, providing massive time savings in quick-turnaround VFX jobs where new versions are constantly arriving:
  22. With Martin Tlaskal, FilmLight. In this segment, find out more about the timeline improvements in Baselight. Baselight’s enhanced timeline features collapsing stacks and multiple tracks.
  23. With Martin Tlaskal, FilmLight. In this segment, find out more about the FilmLight API, the new programming interface to the Baselight colour grading platform and Daylight, FilmLight’s dailies management and transcoding system. The FilmLight API is designed to automate common but time-consuming tasks, such as VFX transcoding and retrieving/setting metadata.
  24. Colour on Stage: Eric Weidt Creating the unique look for ’Mindhunter’ In this video, Eric Weidt talks about his collaboration with director David Fincher – from defining the workflow to creating the look and feel of ‘Mindhunter’. Eric will break down scenes and run through colour grading details of the masterful crime thriller:
  25. Join FilmLight and Light Iron for an introduction to Baselight, FilmLight’s color grading, VFX and finishing solution. This free one-day course covers the core fundamentals of color grading, color spaces and media management in Baselight v5. The course combines demonstrations of techniques and features as well as hands-on exercises. Register today: https://filmlightnewyork2019.eventbrite.com