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  1. FilmLight completes highly-esteemed jury, naming Mandy Walker as jury president and George Miller as guest of honour LONDON — 18 July 2024: FilmLight has finalised the prestigious jury for the 2024 FilmLight Colour Awards and announced Australian film director, screenwriter and producer, George Miller, as guest of honour, and award-winning Australian cinematographer, Mandy Walker, as 2024 jury president. George Miller, AO, is known for directing the dystopian action-adventure films Mad Max (1979), Mad Max 2 (1981) and Mad Max Beyond Thunderdome (1985), Mad Max: Fury Road (2015), which went on to win six Academy Awards with Miller receiving a nomination for the Academy Award for Best Director, and Furiosa: A Mad Max Saga (2024). Other projects include The Witches of Eastwick (1987), Babe (1995), Happy Feet (2006) and more. “Just as slow-drying oil-based paint allowed renaissance art practice to become more iterative, so have the digital tools of the colourist expanded the plasticity of each frame of moving image,” comments Miller. Mandy Walker, AM, ASC, ACS is an Australian cinematographer known for work on Elvis (2022), Mulan (2020), Hidden Figures (2016), Tracks (2013), Australia (2008) and more. “I am honoured to be presiding over this jury in the company of such revered film makers from all around the world,” says Walker. “It’s very exciting to have the opportunity to showcase the talent and scope of artists working in the field of colour timing.” FilmLight also welcomes the following international talent to complete this year’s highly prestigious jury: Kaitlyn Battistelli – senior colourist and partner at ETHOS STUDIO in LA. Kaitlyn is known for her fun and vibrantly hued films across a diverse range of platforms and her work has earned her numerous awards and acclaim. Her work on the feature film Dìdi, won the U.S. Dramatic Audience Award at the 2024 Sundance Film Festival. Greg Fisher – senior colourist at Company 3, London. Fisher is among the world’s most sought-after colourists and a pioneering technologist in the field of image development. Recent work includes Yorgos Lanthimos-directed Poor Things (2023), which has received multiple awards and The Book of Clarence (2023). Jose Francisco Neto – senior colourist and founder of DOT in São Paulo. His work spans a wide range of projects, from short films and feature films to major episodic productions like Disney's Aruna's Magic. He has also served as a post-production supervisor and VFX supervisor on various projects, which contributes to his unique perspective as a colourist. Catherine Goldschmidt – award-winning cinematographer known for her work on the 12th Season of Doctor Who, the Emmy-nominated show Dummy, the critically acclaimed BBC/Amazon series Chloe and HBO’s hit series House of the Dragon, for which she was nominated for a 2023 Emmy Award and the ASC Award for Outstanding Cinematography in a One Hour Television Drama. Birgit Gudjonsdottir – award-winning Icelandic cinematographer with an extensive career in commercials, documentaries, and feature films since the late 1980s, including Goodbye, Lenin! (2003) and The Bourne Supremacy (2004). The first feature film she shot, Jargo (2004), premiered at the Berlinale in 2004. Jax Harney – founder and senior colourist at X-LDN in London. With over two decades in advertising, Harney is known for her innovative approach and work with luxury brands in commercials, television, and film. Yong Hou – acclaimed Chinese cinematographer, director, professor at the Shanghai Theatre Academy, doctoral supervisor, and president of the Chinese Society of Cinematographers. Hou is celebrated for films such as Jasmine Women (2004) and Manifesto (2023) and for his collaboration with director Zhang Yimou. He has received multiple Golden Rooster Awards and international recognition. Tim Kuhn, BVK – award-winning German cinematographer, known for his influential work on series like Breaking Even (2020) and amazon series Luden (2023). Kuhn is a member of the German BVK and the German film academy and his projects, Dear Mr. Führer (2022) and Luden (2023) have both been winners at the FilmLight Colour Awards. Michael Liu – distinguished Chinese cinematographer, who has developed a reputation for his innovative visual storytelling and his ability to blend traditional Chinese aesthetics with modern cinematic techniques. Liu's portfolio includes a diverse array of films and his notable works include The Wandering Earth series. Tim Masick – senior colourist at Company 3, New York. Masick co-founded Company 3 New York in 2002 and is known for pushing the boundaries of what is possible in colour grading. Masick won the Commercial award at the FilmLight Colour Awards in 2023 (Zara Man SS23) and 2021 (Dior Spring Summer 2021 Collection). He has worked on a wide variety of commercials for top directors and cinematographers and an impressive list of major global brands, including luxury fashion and beauty campaigns and projects. Avik Mukhopadhayay – esteemed Indian cinematographer known for his work with directors like Mrinal Sen and Aparna Sen. Mukhopadhayay has received numerous accolades, including two Filmfare Awards for Best Cinematography. Marina Starke – Berlin-based senior colourist with a notable portfolio in feature films, series, commercials, and music videos. Starke is a five-time FilmLight Colour Awards nominee and 2023 Music Video winner for her work on Horra by Mayyas. Jason Zukowski – senior colourist at Fort York VFX in Toronto. Zukowski worked as a DoP, editor, and director before finding his niche in the world of colour grading. He has contributed to award-winning commercials and collaborated with top directors and brands. These talented creatives join the previously announced jury members to complete this year’s jury: Ben Gervais – freelance technical producer; Mahak Gupta – senior colourist at Bridge PostWorks; Elodie Ichter – senior colourist at Light Iron; Natasha Leonnet – senior colourist, Picture Shop; Dirk Meier – freelance colourist, lecturer and 2023 FilmLight Colour Awards winner; Erik Messerschmidt, ASC – cinematographer; Yov Moor – senior freelance colourist; Robert Richardson, ASC, ACK – cinematographer; and Damien Vandercruyssen – senior colourist at Harbor. The FilmLight Colour Awards are open to colourists on any grading platform and close for entry on 31 July. A shortlist will be announced in autumn and the winners unveiled at EnergaCAMERIMAGE in November. For more information, please visit: www.filmlightcolourawards.com/ ###
  2. Award-winning cinematographers Mandy Walker, Robert Richardson and Erik Messerschmidt amongst talented worldwide jury FilmLight today announced the first set of high-profile creatives lined up to judge the 2024 FilmLight Colour Awards, including cinematographers Mandy Walker, Robert Richardson and Erik Messerschmidt. The awards are presented annually at the international film festival EnergaCAMERIMAGE in November. Following her participation in the 2023 ceremony panel discussion with Lawrence Sher, first to join this year’s jury is Australian cinematographer, Mandy Walker, AM, ASC, ACS. Walker is best known for her work on Elvis (2022), Mulan (2020), Hidden Figures (2016), Tracks (2013), Australia (2008), Shattered Glass (2003), Australian Rules (2002), Lantana (2001), The Well (1997) and Parklands (1996). “I really appreciate the artistry of great colourists,” comments Walker. “They help the cinematographer enhance the storytelling with colour, contrast, light and darkness – creating atmosphere and focusing the audiences’ gaze to what’s important in the frame. I will be looking for consistency and colour that is not too ‘affected’, but seamlessly works with and not against the elements of the story.” Also joining this year’s jury is renowned American cinematographer, Robert Richardson, ASC, ACK. Richardson, who has won the Academy Award for Best Cinematography three times, for his work on Hugo (2011), The Aviator (2004) and JFK (1991), is a regular collaborator of Hollywood directors like Oliver Stone, Quentin Tarantino and Martin Scorsese and known for his use of high contrast lighting, shapeshifting style, dynamic camera movements and keen eye for detail. “Judging the work of a colourist is complex, as there are many factors that play a part,” says Richardson. “For example, how early was the colourist involved? Did they create a LUT to use in camera or during post? What was their relationship with the director of photography? What is their history? With this in mind, the process of judging for me will be based on the information they provide about the project as well as how well the visuals support the story. I am excited to take part, as the colourist is pivotal to my work and I have immense respect for the creativity involved.” Also joining this year’s jury is cinematographer Erik Messerschmidt, ASC, who recently had two feature films premiere at the 2023 Venice Film Festival – David Fincher's The Killer and Michael Mann's Ferrari. He also shot Fincher’s series Mindhunter (2017-2019) and feature film Mank (2020). FilmLight is also delighted to welcome the following talented creatives to the 2024 jury: Yov Moor – senior freelance colourist in France, whose work encompasses award-winning feature films, documentaries, art films and shorts. In 2024, Moor had four films at Cannes: Miguel Gomes’ Grand Tour, Gilles Lellouche’s L’Amour Ouf (Beating Hearts), Keff’s Locust andWei Liang Chiang’s Mongrel. Natasha Leonnet – senior colourist at Picture Shop based in LA and recipient of numerous prestigious accolades. Leonnet’s work includes Spider-Man: Across the Spider-Verse (2023), Billie Eilish: Happier Ever (2021), Candyman (2020), Mulan (2020), First Man (2018), Hidden Figures (2016) and Whiplash (2014). Mahak Gupta – senior colourist at Bridge PostWorks in India and a 2022 FilmLight Colour Awards ‘Spotlight’ nominee for her work on Shoebox (2021). Gupta is also the co-founder of ‘The Colorists Workshop’ development program designed to support and recognise aspiring colourists in India. Elodie Ichter – senior colourist at Light Iron in New York, who recently completed the grade on Hulu’s Shōgun (2024). Born and raised in France, Ichter’s career path took her to London and Los Angeles before New York where she worked with renowned directors such as Martin Scorsese, Quentin Tarantino, Chloé Zhao and Ben Affleck. Damien Vandercruyssen – senior colourist at Harbor, based in New York. Damien's expertise in cinematography and colour science have earned him regular collaborations with highly regarded directors such as Sofia Coppola, the Safdie brothers and Trey Edward Shults, along with leading cinematographers Philippe Le Sourd, Drew Daniel and Darius Khondji. His work on Apple TV+'s Lisey's Story (2021) won him the ‘TV/episodic’ award at the 2021 FilmLight Colour Awards. Ben Gervais – technical producer in Canada. Gervais is a pioneer in high frame rate and 3D workflows and developed 120fps production, post, distribution, and projection technology for Ang Lee's Gemini Man (2019) and Billy Lynn’s Long Halftime Walk (2016). Dirk Meier – freelance colourist and lecturer in Germany. Meier won the ‘Episodic’ award at the 2023 FilmLight Colour Awards for his work on season one of The Pimp: No F***ing Fairytale (OT: Luden). In 2024 colourists will be awarded across six categories: theatrical feature; television series/episodic; commercial; music video; Spotlight, which recognises colourists who have worked on a lower budget feature film or television movie; and, new for 2024, Emerging Talent, which celebrates the work of young colourists (age 18-35) in commercial and music video creation. The remaining jury will be announced in the coming months with this year’s call for entries closing on 31 July. A shortlist will be announced in autumn and the winners unveiled at EnergaCAMERIMAGE in November. For more, visit: www.filmlightcolourawards.com.
  3. Entries open from 1 May - 31 July to colourists on any grading platform LONDON — 23 April 2024: The FilmLight Colour Awards return for the fourth year in 2024 with an additional new category dedicated to rising talent. The awards, which will once again be presented at EnergaCAMERIMAGE in November, are independently judged by a panel of prominent creatives, cinematographers and colourists. New for 2024, the ‘Emerging Talent’ award will recognise and celebrate the work of young colourists (age 18-30) who have worked on a commercial or music video project aired between 1 September 2023 and 30 September 2024. “The next generation of colourists is critical to the future of our industry,” says Jacqui Loran, co-director at FilmLight. “We have introduced this award to help support and encourage these emerging young talents – shining a light on their work and helping them to form a path into the industry.” The new category sits alongside the existing five: theatrical feature; television series/episodic; commercial; music video; and Spotlight, which recognises colourists who have contributed to the creative impact of a low budget feature. The awards are led and organised by FilmLight, in conjunction with EnergaCAMERIMAGE. “In 2021 we welcomed the FilmLight Colour Awards into the EnergaCAMERIMAGE Film Festival programme and we have enjoyed watching the success of the awards and the partnership grow year-on-year,” says Marek Žydowicz, EnergaCAMERIMAGE Founder and Director. “We continue to receive positive feedback about our joint efforts to shine a light on the work of the colourist and their invaluable collaboration with the cinematographer. We can’t wait to do it again this year.” For 2024, FilmLight also welcomes four new supporting partners: ShotDeck (fully-searchable cinematic image library), AMC (Mexican Society of Cinematographers), BVK (German Society of Cinematographers) and ISC (Indian Society of Cinematographers). They join the growing list of long-standing supporters, including: AFC (French Society of Cinematographers), ASC (American Society of Cinematographers), BSC (British Society of Cinematographers), CNSC (Chinese Society of Cinematographers), CSI (Colorist Society International) and more. You can watch highlights from 2023 in the 2024 teaser video, here. Colourists, production companies and facilities are invited to put forward their nominations when entries open on 1 May 2024, with a final deadline for submissions on 31 July 2024. For more information on the awards, including category guidelines, please visit: www.filmlightcolourawards.com ###
  4. Hi everyone, 🙂 I am currently working on a edit and a grade for an important Australian institute, and they have asked me a few questions about automation and shot balance for a photogrammetry job. I can't disclose too many details at this point, but they are looking for someone who can write code to assist them with their specific automation process. They aim to optimize their pipeline. The ideal candidate should have a good understanding of color science and a solid knowledge of Python. Do you happen to know anyone who might be up for the task? Here is my email address if you'd like to contact me directly. postprod.clementbouchet@gmail.com Regards,
  5. Hello Guys! Dehancer https://www.dehancer.com/ is a film emulation plugin for Davinci Resolve, currently available for Mac users only. Works with: DaVinci Resolve 15 and later Mac OS Mojave 10.14 and later Metal-enabled GPU For many years we are running a film laboratory in Moscow https://sreda.photo, where we sell, develop and print film, both for photo and movie. Last 4 years we spent developing a plugin that emulates the processes and behaviour of a real film. It's not the LUT, it's a much more complex set of tools based on precisely measured analogue processes. Pro version includes Input camera profiles 52 Film profiles Expand tool Print options CMY Color Head Film Grain Bloom Halation v2 Defringe Vignette False Colors LUT Generator ACES support For our friends from Lowepost, we offer a 10% discount promo code DEHANCERIT10 for any product in our store. You can download a full version with watermark of our plugin on the website without registration. If you are a professional colorist and would like to receive a two weeks full trial to check on a real-life project, send us a private message here with your email and we will send you a license key shortly. Or reach us by email marketing@dehancer.com You can find more detailed information about the plugin in our blog https://blog.dehancer.com/articles/ Subscribe to our Instagram and youtube page https://www.instagram.com/dehancer.film/ https://www.youtube.com/channel/UCsvgRJwcWFYNNMuhXkxR3Gw If you have any questions please feel free to ask!
  6. FilmLight has finalised the 2023 FilmLight Colour Awards jury and appointed renowned cinematographer, Lawrence Sher, ASC, as this year’s president. “I’m very excited to be president of the FilmLight Colour Awards,” comments Sher. “Colouring and colourists are as fundamental to modern filmmaking as any lighting or camera tool. As someone who started their career colour timing movies the‘old fashioned’ way, I was an early adopter and champion of the Digital Intermediate as I could see its potential." Due to popular demand, the awards deadline has also been extended, with submissions now closing to the global colourist community on 7 August 2023. Read more, here 👇 https://www.filmlightcolourawards.com/colour-awards-2023/lawrence-sher-asc-named-as-filmlight-colour-awards-jury-president-for-2023/
  7. I do not often deal with the color correction of other people's projects, but I almost always paint my own, now I have a slight bewilderment, I can not pick up color for these frames. It's a short meter, a comedy genre! If you have the opportunity to help me please check with the color! Alex camera, ProRes material 444 Raw file here: https://fex.net/635068188718
  8. I haven't been able to find an answer for the discrepancy between the Scopes Histogram and the HDR Zones Histogram. I've attached 2 pictures below showing the Histogram for a Gray Scale ramp and the settings I'm using(I know they're not HDR. I was just trying to understand what the HDR Histogram is actually showing). I understand the x-axis represents the tonal range(in stops rather than the typical tones in the primaries curve) and I understand why it ends at a 100 nits (The limitation of SDR being a 100 nits) but why is the histogram an exponential curve on the HDR Zones whereas it's a straight bar in scopes as it's supposed to be (all of this is at default settings). On top when I change the Output Color Space to Rec709 2.4 it's still an exponential curve and ends at a 100nits but the Y-axis is only like 1/4th way up. Basically, what does Y-axis actually represent both for the Histogram and Blue Curve/Line in HDR Zones? Thanks P.S: I'm not a pro colorist or anything. Just someone who is genuinely interested Output Space sRGB, Timeline Working Luminance: SDR 100 Output Space Rec709 2.4, Timeline Working Luminance: SDR 100 Output Space sRGB/Timeline Working Luminance 4000 HDR(Just another example) Scopes Histogram(Always stays the same)
  9. Hi everyone, Anyone selling a Tangent panel BUNDLE in Australia? I'm living in Sydney but I could buy it from anywhere in Australia. I have one at work but I would like to get one to work from home too. I have a Blackmagic micro panel but I can't use printer points with it. My email: postprod.clementbouchet@gmail.com https://www.clementbouchet.com/grade-reel Thank you.
  10. Hi everyone! I am selling my micro panel (Blackmagic Micro panel) because I have bought another panel. I have barely used it because I have been using the panel we have in the office. It is in excellent condition. 😊 Price is $1000 AUS (selling in Australia ONLY/Postage cost is not included) Original price was $1373 I still have the receipt. Contact: I am living in Sydney. postprod.clementbouchet@gmail.com https://www.clementbouchet.com/
  11. Hi, As far as I knew, a good calibrated laser projector (like a NC1201L) was absolutely fine for colour grading a film with cinema distribution. Maybe some limitation about pure blacks (more of difference from what I got), but longer calibration consistency over time and frame so more reliable. Other than that I wasn't aware of major problem with those. But just today a person that installs and sets up grading rooms told me he never been able to find a suitable laser projector, good enough for the requirements of a grading room. Despite me pushing for further info he didn't provide details about what was wrong with them. so: 1) What am I missing? 2) If there are any actual major difference, does it really matter with the shift of more and more cinemas to laser projectors?
  12. Hi everyone, I'm using the Davinci Resolve for many years and I noticed it's missing a major "feature" that was in previous versions. (since version 14) When working in projects with a MASTER TIMELINE, I often grade within an AAF/XML timeline and render the master timeline. What's happening now is that when I'm in the AAF timeline, and I need to see the current clip in the MASTER timeline, I used to be able to just switch to it via the drop down over the record monitor. However, when I switch to the master timeline now, it just goes to the head of the master timeline instead of the selected clip. No sync between the playhead of the timeline I'm working in and the master timeline anymore. I have already ticked the box "Sync master timeline to current frame" in the user preferences (I've also tried to restart resolve or build a new project) It is happening since version 14. I have tried this on PC, mac and many computers. I really don't know what I'm missing. Thank you for your time and sorry for the grammar. Cheers,
  13. Great news for you! On June 20, 2020, the official resource of the Colorist Awards 2020 became available to apply for participation in the Awards. This is a great opportunity to be the first in this big event for the colorists world. Apply for registration today, and start preparing your work to become a winner in the nominations! Acceptance of payments, as a registration fee for participation in the Colorist Awards 2020, from bank cards registered in the USA, and PayPal service will be available after June 27, 2020. This feature is caused by a number of technical difficulties in organizing the correct Internet acquiring in this direction. official website: www.coloristawards.com Team of the Colorist Awards
  14. Hey guys and gals, New to this forum, quick background of myself. Did Audio since 2006 and two years ago gave up audio to do video. Now i am 2 years into video and do everything for my company. I still am having a lot fo trouble learning color correcting and color grading. Im not sure if its my camera, my eyes lol or just not sure what Im doing wrong. I know Ive been filming in AUTO ISO but lately I actuall manually ISO my enviorement. ANy how long does it take to be a good colorist. I am based out of Los angeles if anyone knows anyone who can help !!!
  15. Here is my colour grading reel and the link for my website! 😊 https://www.clementbouchet.com/grade-reel I've been working in France, New-Caledonia and Australia. (editing, colour grading and a bit of VFX) Have a look!
  16. Here's a tutorial I posted a while back, but it's still very useful today: Creating areas of light and shadow are no problem with DaVinci Resolve. PowerWindows, polygons, or curves can be a colorist's best friend when controlling where you want areas of contrast. The only thing that limits you is the simplicity of the shapes. When shooting on set, a pattern or "gobo" can be placed in front of a light source to create shapes. We can use the same technique in Resolve by using external mattes. In this tutorial I will show how to create more intricate shadows or highlights that can make your images more moody or suggest location. LINKS: Directory of Gam Patterns: bit.ly/gampatterns Images used in this tutorial: bit.ly/noirpatterns image courtesy of Marta Colpani: flickr.com/photos/martacolpani/4934952722/ Noir Shadows and Highlights with DaVinci Resolve-HD.mp4
  17. Hello everybody. I have long wanted to ask, but could not. Why DaVinci? Because - Price? Quality tools? Flexibility? Accuracy in color? Capabilities? Support? After all, once the company BM lowered the prices of their program (Davinci), then immediately appeared thousands of "colorists" in the world who "can" create "wonderful" images. Yes, of course, BM has made available to many people, the world of color correction. But BM did not create these people colorists! Now almost every other editor thinks he "colorist" and that he is able to do the work of the Colorist. It reminds me of the transition from foto-film to digital photography. When I could for a long time to build the shot and choose the composition of the shot, before you take the picture. And then I selected the frame I want to print it already. Now, I see the thoughtlessness and empty, without life pictures on the Internet. So, "Why DaVinci?" Alex.
  18. Flanders CM171 broadcast monitor for sale. In mint condition.ony been used in studio. Asking for 2800CD
  19. Hi all, this is a real quick rundown on SCRATCH color management and explains how SCRATCH deals with mixed colorspaces in one timeline and how you can output different colorspaces from one CONstruct.
  20. Hey guys, Just finished a new color reel for 2016. Includes my work on music videos, commercials, weddings, and passion projects. Would love to hear any feedback! Thanks! Evan
  21. Digital Vision is pleased to announce the release of the 2016.2 version of Nucoda grading and Phoenix Restoration software. SDK Updates Arri support for Alexa Mini ● Support for Alexa Mini MXF files - Audio and Video ● Support for new 3168 format in Alexa SXT ● New colour processing version for Alexa SXT ALF-2 Looks ● New anamorphic factor 1.33 (4:3) RED support (6.2.2) ● Rec.2020 colour space support ● Support for Helium sensors ● Weapon 8K and Raven 4K support ● New HDR GAmma options HDR-2984, BT.1886 and Log3G12 ● Support for Red Wide colour Gamut ● Imagegammalog 3G10 ● Rocket-X driver 2.1.34.0 and firmware 1.4.22.18 or later ● Rocket driver 2.1.23.0 and firmware 1.1.18.0 or later Sony SDK - Change to previous behaviour New settings: ● Video SMPTE > Rec.709 ● Full Range > Rec.709 ● Cineon Log > SLog2 ● Video Log > SLog2 ● Aces > Aces New GUI features for Nucoda and Phoenix Keyboard shortcuts added for making tracks larger and smaller ● Using Alt+Up or Down arrows will make timeline tracks larger and smaller Record time splice After selecting one or multiple clips - pressing Alt+B will splice the clips to the selected track but will splice the clips based on their in code. This way it is easy to paste VFX clips where they belong based on their start timecode. ● This mode always overwrites In and out points are respected when splicing: ● If both in and out are set and the material falls inside the range it will be spliced ● If the in or out points are shorter that the source, but in a valid timecode range, the source clip will be trimmed and pasted between the in and out points. ● If the in and out points are not in a valid range an error dialog will be shown. Progress bar for XML and AAF imports When importing AAF or XML files there will now be a progress bar while importing, import functions can also be cancelled using the cancel button on the progress bar. Improvement when moving multiple clips on the timeline Moving many clips on the timeline is now much faster. LUT exports Using the export LUT menu, users can now export both a LUT and an Inverse LUT. This is particularly useful for restoration workflows where a LUT is applied during the restoration work, but the LUT need to be removed afterwards. ● Only 1D LUT’s are supported - no colour transforms ● The Inverse LUT function will only be available if the 3D LUT option is deselected ● v2 CMS and HDR is supported for export - for V2 files the range is restricted between 0 and 1 ● No negative values are supported ● If an invalid Master Curve is used the export will report an error. ● Remember to specify the layer to be exported ACES 1.0.2 New Look Management Transform ● A new LMT has been added to the CMS/ACES 1.0.2/LMT folder ● LMT.Academy.ChromaFix.1.0.2.cms ● It is to be used as a LUT in an ACEScc project, ensure that the “Apply in Linear ACES” button is selected when using this LMT. ● It is designed to mitigate an issue with certain cameras that seem to generate colour values that are not correctly rendered in an ACES project. This can include blues and cyans, reds. ● Older ACES version LMT’s have been updated. For those of you grading in ACES regularly, we have a beta version of ACES with ACEScct colour space available.
  22. Hi. I was very closely linked to the Edit. And there is an excellent article which presents 6 myths in this. http://postperspective.com/jonathan-mosers-myths-editing/ And the question came. Are there any similar myths in relation to the color correction? Alex.
  23. Hi. Almost any software can operate with the panel. The original or universal. How Community colorists present position is that there should be a panel necessary? As far as I have information that Steve Scott (Technicolor) does not use the panel during operation. Alex.
  24. I have found interesting page showing color palletes from famous movies: http://digitalsynopsis.com/design/cinema-palettes-famous-movie-colors/