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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
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I would like to invite you all to FilmLight's next online event: Colour Online: Film Awards Season Thursday, 29 April 18:00 GMT Let’s celebrate the recent nominees and winners of this year’s awards season. FilmLight is hosting a discussion with colourists Kyle Stroebel (Refinery) - My Octopus Teacher Katie Jordan (Light Iron) - Promising Young Woman Jateen Patel (Molinare) - Rocks Eric Weidt - Mank Of course, you will have the possibility to submit your questions to our four panellists. Register now And if you missed these events: I suggest watching the recording of our 'Camerimage 2020' webinar, where among others Elodie Ichter (Harbor) discusses the grade of 'Nomadland'. Colour at Camerimage 2020 And Eric Weidt's amazing presentation about his previous collaboration with DP Erik Messerschmidt and Director David Fincher on 'Mindhunter'. Colour on Stage: Eric Weidt - Mindhunter
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I am happy to invite you to our webinar about this new show on Netflix. In this exclusive discussion, FilmLight interviews the talent behind the new sci-fi TV series from Netflix. Released on February 19, Tribes of Europa tells the story of three siblings fighting for survival in future Europe. Join Colourist Stephan Kuch from PANOPTIMO and DoP Christian Rein as they talk about their long-term creative relationship, as well as their collaboration on ‘Tribes of Europa’ – from defining the workflow, to creating the look and feel of a Europe in which technology has collapsed and microstates are at war. Don't miss Stephan breaking down some grades directly in the Baselight timeline. Friday, March 5 11:00 Los Angeles | 14:00 New York | 19:00 London | 20:00 Munich Register now
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I am a long time Avid editor (c.1994). A while back I purchased the Wave 2 and was unable to get it to talk to the Baselight software.I gave up after both Tangent and Filmlight support were unable to assist me. I have a bit of time now and would love to get these two talking to each other. Can anyone here steer me towards a solution? I work on an iMac Pro, running Mojave. I have the latest versions of Tangent Hub and Baselight. Baselight opens and works within Avid. Tangent hub allows me to program the Wave2 buttons for Avid functions, but when I select "Filmlight" in the drop down menu of tangent hub it gives the prompt "controls in FilmLight are fixed and cannot be changed". Anyone?
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Hi @ all I try to find a Shortcut to toggle between the Operators while you are using Baselight for AVID!? Can anyone help please? Thanks
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Registration is now open for our next Colour Online webinar: Developing Digital Images with Andy Minuth, FilmLight Colour Workflow Specialist Tuesday, October 27 In this new live webinar, Andy demonstrates best practice for developing digitally acquired images and for building a layer stack. https://register.gotowebinar.com/register/5739623730711649548?source=Facebook&fbclid=IwAR0KeAr4aRxViPvAEeu92GiZMmZwZ_VGBWeOD9P8VsgAs7Hd5zl37CiIyBo
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Hi everyone, Does anyone know if there is a tool to manage bright saturated color clipping (out of gamut colors) in Resolve ? Something similar to the Baselight compress gamut? Thank you,
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Hello, Can someone explain how to setup rendering in Baselight 4.4 to match equivalent render settings from Resolve: - individual clips, DPX - source timecode and metadata - original resolution, no resizing - force de-bayering in high quality - everything in one folder - add 25 frames handles. Also, if I have compositing like chroma key, what would be the best workflow to output plates, not composites? Thanks, Nikola
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Just looked intro to BL for Avid on FilmLight page and got intrigued a bit. What i mean is usually i get edit from avid and the thing that was mentioned in the end "see grade while editing" is the case some times it would make sense to Harness. My goal would be to learn that workflow and practice some BL on top seems like good idea to me. Am i missing something here or is there just conform bit that is different? Another part would be to allow to do something that would be usable in the end one way or the other that seems to me not possible with student ? (i also always run out of student time frame when i can do something meaningful)
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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
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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. Colour On Stage_ Fernando Medellin, Colorist, Oxido, Mexico.mp4
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Goodevening,I am encountering an unexpected behaviour when rendering with baselight 4.4. Due to in progress jobs we are avoiding an upgrade.I am struggling to properly tag the color space of my exported clips.Exporting to quicktime prores4444XQ.Colour Space Tagging: AutomaticOriginal clip CS: Arri log C/wide gamutinput cs: tried both from metadata and setting it to arri log C/wide gamutstack: working colour space:arri log c/wide gamutScene settings tried both setting all to arri log g/wide gamut and leaving Grade result colour space: from stack and Default input coloru space to no conversion.Despite all my rendered files are all tagged as Rec 709 gamma 2.4. Am I missing something?Moreover if in render, as Render Colour Space, I say Input colour space no matter the settings it converts the file to Rec 709 gamma 2.4. Are those know issues of old version of baselight, or am I doing something wrong?Thanks in advance for your help
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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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Sylvain Canaux Colourist, St Louis, Paris A native Parisian, Sylvain Canaux started his career at post house St Louis where he quickly gained recognition for his work on beauty grading for high end commercials and photographers, such as Chanel, Yves St Laurent & Dior. Using Baselight v5, Sylvain illustrates the challenges of moving between colour spaces and showed how these challenges can be met through a combination of colour science and artistic skills.
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Hello, I'm looking for some clarification, real world examples and best practice of using BLG workflow (in ACES) between BL, Flame and Nuke. Lets say if you have project shot with one camera things are pretty straight forward. Fun starts when you have timeline with Alexa mov, mxf and Arri Raw, few Red shots, little bit of Phantom Cine (that can not be loaded in Flame it seams) and few other exotic cameras and of course shots from CGI. I'm curious how other people tackle this problem. Especially from the Nuke side, since options in BLG for Flame are quite clear. What would be the best way to prep this kind of project? Thanks, Nikola
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Hello Everyone! My new project, viideo-course in Baselight 5.0 for beginners (english language). Alex
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The third part of this tutorial series covers scene, job and global formats as well as metadata burn-ins.
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Part 2 of this three-part series covers the process of creating a centre-extraction format mapping.
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The first of a three part series on Baselight and Daylight formats. This video explains how formats are mapped and how to create a new format with a specific mapping.
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We are organising a day of exciting presentations at IBC this year. The speakers are: Maxine Gervais, Senior Colourist, Technicolor, Hollywood; she will talk about her recent work on Black Panther, The Meg and Alpha. Sylvain Canaux, Colourist, St Louis, Paris; Sylvain will explain his grading apporach on high-end beauty commercials. Mike Nuget, Freelance Colourist/Editor, New York City; Mike will present his recent experiences live using the new Baselight for Avid tools. Daniele Siragusano, Image Engineer, FilmLight, Munich; In this more techical session Daniele will show what it takes to produce natural images on modern wide gamut displays They will present live from a Baselight system and go into the details of the colour space management and finishing toolset that helped them to create beautiful grades, while navigating modern challenges such as HDR and multiple delivery formats. Seats are limited. Please register at: https://goo.gl/agS9Wh
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BASELIGHT COLOR CORRECTION FOR MEDIA COMPOSER
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Visiting NAB this year? I would like to draw your attention to the following event: https://www.eventbrite.com/e/arri-and-filmlight-workshop-at-nab-2018-registration-44545711422 We will show an effortless BLG workflow between the Alexa and the FilmLight tools. And after that I will present new and upcoming features of Baselight. There is a longer description of the event in the link. See you there, Andy
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Hello Everyone! My new project, viideo-course in Baselight 5.0 for beginners (russian language). Alex
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Filmlight Blackboard 1 in very good working condition for sale -10,000$ Shipment costs from Israel on the buyer's expence. Michael@cinematyp.com WhatsUp +972544521163
