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Daphne Polski

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    Colorist
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  1. FilmLight reveals first ever Colour Award winners live from EnergaCAMERIMAGEAfter 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. To see pictures: https://www.filmlight.ltd.uk/store/press_releases/amazing-reception-for-inaugural-winners-of-the-filmlight-colour-awards/
  2. Jim Bracher, Senior Colourist at Youngster in London, is joined by VFX Artist Robin McGloin to showcase their collaboration on recent projects. Watch the video here: https://vimeo.com/391271883
  3. 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:
  4. 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:
  5. 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:
  6. 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:
  7. 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:
  8. 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:
  9. 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.
  10. 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: https://vimeo.com/373412274
  11. The free 'Colour On Stage' seminar hosted by FilmLight will include two days of live presentations that look at the interaction between colourists, directors, DPs and DITs. To view the programme and register to a session: https://www.colouronstage.com
  12. 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 2 with Andy Minuth: To watch Part 1 Daniele Siragusano :
  13. 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. Watch the video now: https://vimeo.com/343410975
  14. Andrea Chlebak is a senior colourist at Deluxe Entertainment Services (Encore Hollywood and EFilm), handling features, episodics and documentaries. Her recent credits include award-winning indie productions 'Mandy' and 'Prospect', Neill Blomkamp’s 'Elysium' and 'Chappie'. In this video, Andrea talks about how she works with directors and cinematographers to enhance the narrative through colour. Watch the video here: https://vimeo.com/340923423
  15. Save the date... NAB2019 Colour Day. Monday 8 April. Renaissance Las Vegas Hotel Leading colourists will present their individual journeys in colour, as well as the creative tips they have honed over successful careers – all live on Baselight. The colourist lineup includes… Doug Delaney from Technicolor, who recently graded Captain Marvel, Andrea Chlebak and Laura Jans Fazio of Deluxe, and Oxido’s Fernando Medellin, who will explain his grading approach on high-end beauty commercials and his work on the upcoming HDR Netflix show Monarca. They'll be joined by FilmLight colour experts Daniele Siragusano and Andy Minuth. This intensive day of live presentations and practical discussions is designed to guide colourists, DoPs and the wider production and post industry through the opportunities and challenges of modern colour pipelines, via demonstrations of the exceptional colour management and finishing toolset in the latest version of FilmLight’s colour grading system, Baselight v5. Full details will be available soon. Pre-register now for early access to booking – just fill out the form to the right: https://www.filmlight.ltd.uk/news/events/20190408_nab.php
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