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Found 10 results

  1. 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-delive
  2. 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:
  3. 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
  4. 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 :
  5. 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 D
  6. Post Control and FilmLight invite you to a new workshop on look development and colour space management with Prelight. This workshop will start at 6pm, and will cover: Presentation and Q&A on colour space management with FilmLight's Thomas Eberschveiler. Demonstration of Prelight, plus live exchange of looks/BLG grades between Prelight and Baselight, with Pentti Keskimäki, Colourist F.S.C. at Post Control. Pentti will also show his favourite tools in the colour grading system - including some of the new features the upcoming Baselight 5.0 release. Entry to this event is free but you mu
  7. Learn some great grading techniques by The Mill's senior colorist Damien Van Der Cruyssen. He's incredible talented, and in this Lowepost article he talks about his work on the 'Encounter' spot by Calvin Klein. Damien is specialized in setting distinctive looks for luxury brands, and is also well versed in long-form grading.
  8. the movie is set in the period 1980's. its about a highway robber who robs from the moving trucks. 80% of the movie was shot in the night on highways extensively. it was a challenge to light the scenario involved with moving trucks. shot with Red MX and post done on Baselight. Check it out and share ur opinions. thanks Rajavel
  9. Hi all, im from india. the cost of DI in Baslight for 2 hour movie shot on Red Epic is around 30000 US doller. i want to know whats the cost like in other country.
  10. Hello - I'm in the process of finishing up a documentary that I shot last year. I'm almost at picture lock and it's time for me to start thinking about color correcting and grading my project. My film was shot on two different film stocks, Kodak's 50D 7203 and 500T 7219. Both films were processed normal and were given a flat pass telecine on a Baselight system to HD ProRes422HQ files. I've tried some correction tests with this footage and I am having a devil of a time getting everything to balance out. The transfer is obviously lacking in contrast, and when I try to correct that it kn
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