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  1. 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.
  2. 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/
  3. Job description for Senior Colorist Studio Skwer invites Colorists around the world to submit their portfolios/showreels to be considered for the opportunity to collaborate with the Studio Skwer team. We currently have a position open for a full time Colorist, in our facility located in Mumbai- India, responsible for colour grading a wide range of visual contents, primarily for advertising, OTT and Feature films. Studio Skwer is looking for innovative and passionate Colorist who can create edgy, new age look and style. Work at the heart of the post- production industry, you will have an opportunity to collaborate with the top filmmakers and advertising agencies to make your mark as an artist, embracing different artistic color grading styles and methods. Experience in high-end colour grading process, with an 'impressive showreel'- (preferable advertising reel) Practical and technical knowledge of HDR, 4K, P3 and SDR delivery workflows from ACES pipelines (HLG, DolbyVision, etc.) Indepth understanding of most up-to-date colour grading techniques and technologies. 3 to 8 years of professional working experience Expert level skills with Davinci Resolve Excellent communication skills with both clients and colleagues. For further question/ information, please write to us at the following email address: color@studioskwer.com Apply for this position: https://www.linkedin.com/jobs/view/3342459790 About- Studio Skwer An artist collective company with a vision to enable and articulate value for the art of colorgrading and finishing through next – gen visual experience! Instagram: https://www.instagram.com/studioskwer Linkedin: https://www.linkedin.com/company/studioskwer
  4. Client: Bolt Production Company: Get Shot Films Producer: Kadi Freja Felt Director: Janar Aronija Cinematographer: Martin Venela Colorist: Margus Voll, CSI, ICG Posthouse: Iconstudios.eu Arri Mini, DaVinci Resolve, ACES
  5. New video showing what FilmLight was demonstrating on the show floor at NAB2019 - including the next generation grading tools in Baselight 5.2 and the upcoming 5.3 release, a first look at the new FilmLight API (allowing advanced automation for managing media and Baselight scenes using Python, Javascript or Java), and the debut of the Blackboard Classic panel. NAB2019_Highlights_graded_v2_with_titles.mp4
  6. 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.
  7. Hello everyone.I am a professional freelance-colorist for over 5 years (Future film, advertising, commercial video and TV projects) I'm willing to do remotely for you color correction to your projects. I live in Russia (Moscow).I have professional work skills programs Resolve, Lustre, Baselight. My contact: Skype: alex-prohorushkin Email: prohorushkin@inbox.ru Tel: +7 916 301-2727 RegardsAlex.
  8. Hello everybody. I have long asked how it is possible not expensive to organize the system unit for a colorist. Now I attach nesolko photos from my station. Now it 45Tb raid and a lot of interesting))) Alex
  9. I'm looking for a colourist who works with Da Vinci Resolve to grade my new short film. Preferably someone based in the East Midlands of England, though anyone outside of that can still be considered. It was shot on a Black Magic in 2.5k RAW, giving us a wide scope and versatility with the grade. The film is a 15 minute drama about two old university friends who meet up again years later only to discover they no longer have anything in common. I can pay £200 for your time, I'm looking to have it finished by the end of September. If interested please email me at peter@fishbeastproductions.com, thanks!