Daphne FilmLight

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

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

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.

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).

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

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

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

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

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

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

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

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

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.

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:

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:

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.

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:

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:

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.

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.

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:

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

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. To view the programme and register to a session: https://www.colouronstage.com

In Part 1, FilmLight's Daniele Siragusano explained the theoretical foundation of Baselight's next-generation texture tools. In Part 2, Colourist Andy Minuth puts these tools to practical use. He covers all of the features based on FilmLight's advanced frequency separation techniques: Texture Equaliser, Texture Highlight and Texture Blend. Andy showcases real-world examples and explains why the colourist community has adopted them so quickly. To watch Part 1 with Daniele Siragusano: vimeo.com/324224323 To watch Part 2 with Andy Minuth: vimeo.com/342991027

At Oxido in Mexico, Fernando Medellin grades commercials, features and television: he was in at the beginning of the color workflow for Oscar-nominated 'Roma', grading dailies for Alfonso Cuarón. In this exclusive live 'Meet The Colourist', Fernando talks about his collaborative creative work with the director and DoP on set. He also explains his grading approach on high-end commercials. Colour On Stage_ Fernando Medellin, Colorist, Oxido, Mexico.mp4