Color Grading and DI on Visual Effects Heavy Movies

Color Grading and DI on Visual Effects Heavy Movies | Premiumbeat.com:
This summer’s most spectacular blockbuster spectacle Pacific Rim, from director Guillermo del Toro, featuring massive robots duking it out with giant monsters from the sea was given its final spit and polish by Maxine Gervais, colorist at Warner Bros. Motion Picture Imaging. Taking on a movie of this size is no easy thing.

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Make it Beautiful: The Workflow of a Professional Film and Video Colorist

Make it Beautiful: The Workflow of a Professional Film and Video Colorist - Power To Create TV:
Our recent guest Robbie Carman of Amigo Media shared a lot  of insight into the world of professional film and video.  He also wanted to give you an idea of what his work environment looks like.“Well I like gear!  In reality my gear is separated into several categories,” said Carman.  “A decade ago, the color correction systems that were in use were between half a million to a million dollars.”

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Skyfall: Dailies & DI from London to California

Skyfall: Dailies & DI from London to California - Creative COW:
To ensure color consistency from dailies to DI for Skyfall, Company 3 London and EFILM collaborated to create an integrated pipeline, newly branded EC3. Skyfall cinematographer Roger Deakins, ASC, BSC was able to enjoy dailies graded by his long-time CO3 Santa Monica colorist working out of London, and the two facilities coordinated color science and calibration for an overall consistent look throughout the process.

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What are you grading today? August 2012

What are you grading today? August 2012:
The results are in. Alexa on top, not surprising considering it’s popularity across all genres.
Red One drops to 4th after being 1st in 2011. Film drops down and Epic makes a big move up to number 2

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Rohde & Schwarz DVS Presents CLIPSTER Version 5 with 8x Faster DCP Remastering

Rohde & Schwarz DVS Presents CLIPSTER Version 5 with 8x Faster DCP Remastering | 3Droundabout: At IBC 2012, Rohde & Schwarz DVS GmbH will be presenting version 5 of its CLIPSTER® DI workstation. The new feature set will impress users, especially in terms of its 3D performance. Furthermore, the DCP remastering process is now up to eight-times faster than before thanks to CLIPSTER’s new render pipeline.

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TVTechnology: DVS to Highlight VENICE Media Production Hub at IBC

TVTechnology: DVS to Highlight VENICE Media Production Hub at IBC:
The CLIPSTER DI workstation incorporates a cutting-edge DCP QC Tool in the area of mezzanine-format generation which greatly accelerates performance in the DCP remastering process. The new render pipeline in CLIPSTER significantly boosts performance with processes running up to 8 times faster – a great benefit especially in DCI workflows with tight deadlines. CLIPSTER supports mezzanine formats like IMF (Interoperable Master Format) and follows the latest IMF standardization developments offering, among other things, CPL version 5 support.

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Interview with color assistant from EFILM

Interview with color assistant from EFILM:
What does a colorist’s assistant do?
Aaron Williams has a great interview with his friend Luis Silva on what its like to work at EFILM, one of the world’s major DI houses as a colorist’s assistant. There’s plenty of great advice for guys and girls setting out on the path to become world class colorists…

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Avid DS v11 Now With Color and Transport Controllers

Avid DS v11 Now With Color and Transport Controllers:

By Igor Ridanovic
Avid started shipping DS v11 on June 26, 2012, but before we look into what the new features mean for the existing users let’s first discuss the cost and look into what Avid DS is for those who don’t know where to place this editor.


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Post Magazine - The Evolution of the Digital Intermediate

Post Magazine - The Evolution of the Digital Intermediate:
It may be time for digital intermediates to have a name change. Initially coined to describe a digital approach to a film process (i.e., the digital intermediate between film scanning and film print recording), it has arguably come to mean something different today.

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Understanding 4K and the future of cinema

Understanding 4K and the future of cinema:

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ARRI Group: ARRIRAW CONVERTER

ARRI Group: ARRIRAW CONVERTER
In postproduction, ARRIRAW files must be transformed into a standard file format for conforming and color correction. The most commonly used format is SMPTE DPX (Digital Picture eXchange). With ARRIRAW Converter (ARC), ARRI provides a free software tool to view and convert ARRIRAW data into DPX files for postproduction.

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Fotokem Budapest Uses Baselight for Near-Set Grading of "In the Land of Blood and Honey"

Fotokem Budapest Uses Baselight for Near-Set Grading of "In the Land of Blood and Honey":

Fotokem Budapest processed dailies for the film, which was largely shot in Hungary. It also hosted screening sessions for Jolie and the film's crew. Those screenings were held in the facility's DI grading theatre, with a Baselight EIGHT used to make real-time grading adjustments. Working under the guidance of Academy Award-winning cinematographer Dean Semler, Senior DI Colorist Benedek Kaban refined the look of the dailies and applied special colour treatments.

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LUT Translator

LUT Translator:
"Translate all your look-up-tables in all formats within one application. LUT-Translator reads and writes any 1D and 3D LUT format and keeps your LUTs organized in a document-based database. Any LUTs can be easily combined. Write as many duplicates in different formats as needed from any LUT with one easy step."















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Looks, LUTs and Live Grading the ALEXA | CineTechnica

Looks, LUTs and Live Grading the ALEXA | CineTechnica

When Arri released the SUP 4.0 firmware for the ALEXA, they also added the ability to create color ‘Looks’ to load into the camera. These Look files are similar to scene files found in other cameras, but they aren’t burned into the Log C recording of the camera. Instead, they can be used in post by converting them to LUTs using Arri’s LUT Generator.

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Side By Side

Side By Side
For almost one hundred years there was only one way to make a movie — with film.

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HD Magazine - HD Mag - Hollywood RAW

HD Magazine - Hollywood RAW

While post houses look for alternative revenue streams in distribution and archiving, Light Iron Digital in central Hollywood have veered the other way and are taking their expertise in processing RAW digital camera footage to the set. CEO and Founder Michael Cioni explains to JULIAN MITCHELL where their thinking comes from and how they are changing the role of the traditional post facility bit by bit

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Red Giant Enhances Color Production Pipeline for Stargate Studios

Red Giant Enhances Color Production Pipeline for Stargate Studios
Red Giant has announced that two of its popular color design applications are at the heart of one of Hollywood’s leading production studio’s color production pipeline. Stargate Studios, an internationally renowned production company that provides advanced production and post production services for film and television, has embraced Red Giant Colorista and LUT Buddyapplications as central components of their advanced color production pipeline, and are relying on these applications to enhance some of Hollywood’s most talked about television series, including ABC’s Pan Am and Revenge and AMC’s The Walking Dead.

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Christie show 60 frames per second 3D for the first time

Christie show 60 frames per second 3D for the first time: Christie's Solaria Series CP2230 projector showed the 60fps 3D with a combination of other currently available products like the RealD XL Cinema System and International Datacasting’s SuperFlex Pro Cinema Event PlayerChristie used the occasion of ‘The IBC Big Screen’ theatre screenings at RAI Amsterdam last week to show what is believed to be the world’s first mass-audience demonstration of a 3D High Frame Rate (HFR) D-Cinema system using a single projector.

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LightSpace CMS Matches Colour for Film Deliverables

LightSpace CMS Matches Colour for Film Deliverables:

Narduzzo Too grading and DI facility at Pinewood Studios has adopted LightSpace CMS colour management system to carry out long form episodic TV and commercials grading and classic film restoration.

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Image Systems Unveils 2011.0 software for Nucoda and Phoenix Products

Image Systems Unveils 2011.0 software for Nucoda and Phoenix Products

Image Systems, formerly Digital Vision, has today announced the worldwide release of its 2011.0 software for the Nucoda grading and mastering products and Phoenix image media restoration and repackaging software solutions. This new release includes support for Precision, the company’s...

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