Podcasts about baselight

Accelerate your post-production career: https://mixinglight.comFull episode notes and additional links: https://mixinglight.com/color-grading-tutorials/color-timer-podcast-baselight-filmlight-workflow-colorist-andy-minuth/Buy the Color Timer Shirt, now for sale: https://vincenttaylorcolor.myshopify.com/===In this episode of The Color Timer Podcast, I speak with Andy Minuth, a colorist and workflow specialist associated with FilmLight, a company known for its high-end color grading tools and systems such as Baselight.He has extensive experience in post-production workflows, particularly in the areas of color grading and film finishing. Andy often works on showcasing the capabilities of FilmLight's products, conducting training sessions, and collaborating with industry professionals to develop efficient workflows.

Accelerate your post-production career: https://mixinglight.comFull episode notes and additional links: https://mixinglight.com/color-grading-tutorials/the-color-timer-podcast-interview-with-paul-harrison/======Season 1 of The Color Timer Podcast wraps: We chat with Paul Harrison, a colorist renowned for his award-winning short-form work and films.Paul Harrison's professional journey has covered just about every corner of the industry that could possibly be painted 18% gray. Currently, Paul is the Senior Colorist and Partner at Residence Pictures and has completed the visually stunning The Killing Kind (Paramount +) and The Gallows Pole (BBC).From humble beginnings as an on-set runner, to learning the dark arts of telecine with a Pandora Pogle, to honing the look of top-notch brands like Guinness, Levi's, and BMW; Paul shares his insights and his inspiration.One of the world's top colorists, Paul Harrison has been continually ranked amongst the top three finishing artists in the UK throughout his career, frequently topping the Televisual Best Colorist polls as well as winning successive BTAA awards for best colorist.Chatting with Paul feels like chatting with an old friend, he quickly puts you at ease and I would imagine that this is something that would make those long hours in a color session so much easier.- - -Editor: Arthur DitnerExecutive Producer: https://mixinglight.comSupporting Sponsor: https://www.filmlight.ltd.uk/Podcast Home: https://colortimerpodcast.mixinglight.com

On the eleventh episode of Color & Coffee, we chat with veteran colorist and fellow podcast host Vincent Taylor.  We discuss his audacious moves around the world to work at a large post production facility, his transition back to freelance work, and how he navigates the challenges and opportunities that come with each.  We then discuss the importance of stepping out of your comfort zone, embracing diverse perspectives, and welcoming fresh ideas while grading. Like a good espresso, this episode is bite sized yet highly potent. Links:Empire Of The Sun - Walking On A Dream (Official Music Video) The Color Timer PodcastTBD PostColor NationThe Colour SuiteGuest Links:Vincent Taylor ColorIG - https://www.instagram.com/vincenttaylorcolor The Color Timer Podcast IG - https://www.instagram.com/thecolortimerpodcastLike the show? Leave a review! This episode is brought to you by PixelTools, Modern Color Grading Tools for Professional ColoristsFollow Us on Social: Instagram @colorandcoffeepodcast YouTube @ColorandCoffee Produced by Bowdacious Media LLC

Billy Hobson, Senior Colorist at Harbor, joins me on this episode of the Colorist Society Podcast. His most recent color work includes Randall Park's “Shortcomings” which premiered at the 2023 Sundance Film Festival, CBS's FBI, FBI: Most Wanted, and FBI: International, as well as the critically acclaimed Peanut Butter Falcon and Disney's Lady and the Tramp. I first met Billy at a Filmlight event where he explained his workflow with printer lights in Baselight. His mentor, Yvan Lucas, helped guide him towards this technique. I always thought it would make a fantastic subject for a podcast, so we caught up via zoom to record it.

Dave Hughes is an old school film colorist who worked all over Europe before returning to Ireland to run a Baselight at Windmill Lane in Dublin.

Alter Ego is one of the premier post facilities in the world. Based in Toronto, Alter Ego was founded 10 years ago by Australian Colorists Eric Whipp and Wade Odlum. They specialise in colouring on Baselight but the facility has grown to add VFX and production to it's roster. The guys balance colouring TVCs, managing over 50 staff, and still manage to grade blockbuster feature films…..how do they do it?

Erik Luers, and Liz Nord get together this week to discuss two of their favorite things: movies and words. They also address some pretty spooky rumors that George Romero may soon be rising from the dead. Charles Haine joins them to discuss a new camera from his favorite camera company as well as new software from Mocha, Pomfort and Baselight that may end up greatly enhancing your workflow. And in Ask No Film School - what kind of background audio can you use in your short? As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, industry wisdom, and other notable things you might have missed while you were busy making films.

Warren is in beautiful Auckland, New Zealand for this episode of the Color Tour Podcast chatting to long form colorist Alana Cotton, who works at Images Post and Sound. They start their chat in Alana’s grading theatre before moving to the new harbourfront area where New Zealand will defend the America’s Cup in 2021. Topics discussed include Alana’s thought process when grading a feature, women in film, and why she loves the Baselight.

In this video, we'll run through the interoperability between Autodesk Flame and FilmLight Baselight. So through the use of Flame's Pybox architecture and the FilmLight BLG plug-in, you're able to load the grade information from Baselight directly into any edits and composites in Flame. So regardless of their complexity you can load Baselight grades into Flame, see everything in the context of the grade without rendering and even process the final results within Flame using the BLG plug-in. Only metadata is passed between the applications allowing you to work faster without constantly rendering. This workflow is currently only available for Flame on Linux as the BLG-Plug-in is currently not available on Mac OS X. The FilmLight BLG for Flame plug-in is available as a separate purchase from Filmlight and for more information, please contact FilmLight - www.filmlight.ltd.uk

This episode is sponsored by Colorist Society International and Mixinglight.com. On this episode of the Colorist Podcast, we take a look back at 2017. So much has happened this past year in the world of the colorist. Blackmagic unveiled two new affordable panels, as well as releasing Resolve 14. Filmlight continues to innovate, and shipped version 5 of Baselight. UHD and HDR are gaining wide adoption, with new content being available every day. I recently had the opportunity to go back and review every podcast from this past year. I couldn’t believe all the talented people that made time to sit and talk with me. Colorists that worked on films from Lord of the Rings to Saving Private Ryan, TV shows NCIS Los Angeles and Planet Earth II, and commercials for Coca-Cola and Levi’s. We delved into many different topics, like collaborating with DP’s, working in foreign countries, and emerging technologies like HDR. In this podcast, I’ve included some of my favorite insights from 2017: Peter Doyle: Working on films that vary visually and conceptually Dave Abrams: HDR and it’s effect on calibration Warren Eagles: Film stocks and how they relate to digital cameras today Bob Festa: Working with clients and getting them to come back for more Alexis Van Hurkman: Techniques for working with HDR Dale Grahn: Developing looks for The Ring and Saving Private Ryan Juan Cabrera: Collaborating with Directors and DP’s in the suite Adam Inglis: Working with nature footage in Planet Earth II Patrick Woodard: Being flexible and working efficiently in television Vanessa Taylor: Working in a foreign country and overcoming language barriers   This episode is sponsored by: Colorist Society International For more information on how you can become a member, visit, www.coloristsociety.com.   Mixinglight.com Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.  

Paul Lear is a talented Colourist and Baselight Trainer. Join host Blair Walker as he explores the role of a colourist and the state of the industry. What are the new technical developments and the reality of working with a professional colourist? They also discuss collaborating with directors and creatives as well as looking into the technical specifications such as ACES & HDR. Show Links: Images & Sound The Black Hat Island Baselight Baselight for Avid Baselight for Nuke Davinci Resolve Pauls Work - Hillary Pauls Work - Why Does Love FX Guide - Mad Max Day For Night Adobe Lightroom   Colour Spaces: ACES - What is ACES ACES - Getting to know ACES Rec. 2020 - Wikipedia Rec. 709 - Wikipedia Rec. 601 - Wikipedia   Paul Lear Online: Paul Lear - Baselight Training Paul Lear - LinkedIn Paul Lear - Website Paul Lear - Twitter   Pro Video Podcast Online: Blair Walker - Twitter Blair Walker - Instagram Pro Video Podcast - Slack Pro Video Podcast - Facebook Group Pro Video Podcast - Facebook Page Pro Video Podcast - Twitter Pro Video Podcast - Website

This episode is sponsored by Colorist Society International and Mixinglight.com. On this episode of the Colorist Podcast, I talk with Adam Inglis, colorist for feature films Sherlock Holmes, Alien Vs Predator, and Mr. Turner.  Adam was one of the first users of Baselight, when it was previously known as “Film Grader.” It was used internally at CFC in London when finishing the claymation feature Chicken Run.  Currently, his work can be seen on the BBC Documentary series Planet Earth II. Shot with several different cameras in only natural light, the show puts the viewer in amazing landscapes with vibrant colored animals.  On this episode, we talk about: His editorial background and getting his start at the Computer Film Company (CFC) Comparing working at a facility, starting your own shop, and working freelance The challenges of working on nature documentaries The advantages of ACES and color managed workflows Comparing grading systems strengths and weaknesses Getting booked as a freelance colorist Grading television versus grading films Avoiding over grading shots Grading without a panel and when it’s best to use one The lowered price of grading systems and its impact on the industry The role of Directors and DP in the grading process   IMDB Filmlight Freelance Register   This episode is sponsored by: Colorist Society International For more information on how you can become a member, visit, www.coloristsociety.com. and by:  Mixinglight.com Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.  

In this episode, I talk with Terence Curren, a Colorist and Online Editor in Los Angeles. He’s known for unscripted television shows like Project Runway, True Life, Ghost Hunters, and many others.  He got his start at the well known post facility, Matchframe Video, as employee number one. At Matchframe, he was one of the first editors in LA to work with Avid Media Composer, Symphony, and DS. And to this day, he still colors and finishes his shows on a Symphony.  In 2002, after 16 years at Matchframe, he moved on to starting his own company, Alphadogs. Many LA post production professionals are familiar with Alphadogs from their monthly meet ups called The Editor’s Lounge. It’s been a hub for people to learn about new technologies, directly ask vendors questions, and socialize with other pros. It’s been a great resource for over 13 years and I’ve personally learned a ton from attending them. In this interview, we talk about: How his start in editing affects his approach to color  Running his own business from a colorist’s perspective The commoditization of post production gear and how it changed the business  How and why the monthly Editor’s lounge started  Using an Avid in color workflows and why they can save time  A history lesson on the Avid DS and why it was killed His thoughts on groups for colorists and how they can bring change Baselight as a plugin within Avid  Using the keyboard and Wacom tablet instead of a panel   Alphadogs http://www.alphadogs.tv   Editor’s Lounge http://www.editorslounge.com   IMDB http://www.imdb.com/name/nm0192914/?ref_=fn_al_nm_1   Twitter https://twitter.com/terencecurren   This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.  

In this Episode of the ColorCast, the Coloristos take you though part 1 in a 2-part series on this year's announcements at NAB 2015. They cover many of the new features in Davinci Resolve 12 including the re-designed interface, 3D keyer, 3D tracker, discrete alpha output, revised timeline, VST/AU plugin support, and Resolve Color Management. They also discuss the new color tools and improvements in Adobe Premiere, Digital Vision Nucoda, Baselight Editions for Nuke, and Autodesk Flame & Lustre.Thoughout the discussion they also consider how all of these new tools will be impacting post-production, as many tools evolve more and more into self-contained "super-apps", and as automated color tools and shot matching technologies allow artists of all experience levels to do more work, faster, and with less effort. The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you. The Coloristos are: Josh Petok, a colorist working on reality and episodic television in Los Angeles. Juan Salvo, a colorist and online editor for films and commercials in New York. Jason Myres, a colorist and post-production engineer in Los Angeles.

In this Episode of the ColorCast, the Coloristos discuss their predictions for NAB 2015, and what they think will be big topics at the show, including the continuing transition to UHD/4K, the rise of HDR, the impact of the Alexa MINI, along with the possibility of Davinci Resolve 12, and the viability of a mid-range control surface.They also take a "one year later" look at the AJA Cion and Blackmagic URSA cameras, as well as how systems like Assimilate Scratch, Digital Vision Nucoda, and Filmlight Baselight, are continuing to evolve their feature set and pricing to accommodate the current climate in post-production.The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you.The Coloristos are:Josh Petok, a colorist working on reality and episodic television in Los Angeles.Juan Salvo, a colorist and online editor for films and commercials in New York.Jason Myres, a colorist and post-production engineer in Los Angeles.

In this Episode of Coloristos 1on1, Josh interviews Duck Grossberg, a Los Angeles-area DIT who has been working on-set on major feature and broadcast television projects since the early days of the RED ONE. He and Josh discuss the current state of being a DIT, his favorite cameras to work with, and what he thinks the future holds for DITs going forward. The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you. The Coloristos are: Josh Petok, a colorist working on reality and episodic television in Los Angeles. Juan Salvo, a colorist and online editor for films and commercials in New York. Jason Myres, a colorist and post-production engineer in Los Angeles.

In this episode of Color Talk we dig in deep with Kevin Shaw, Instructor from the International Colorist Academy, about his new class - Advanced Color Grading. We do not talk about the specifics of how you use Resolve or SpeedGrade or the Nucoda color grading system or Baselight. Instead we delve into Kevin’s particular approach to teaching color grading, which is less about the tools and more about the philosophy of how you think light and color.

In this Episode of the ColorCast, the Coloristos discuss the current state of professional and consumer displays for grading and finishing. They talk about the rapid evolution of the display market over the past two years, and how technologies like OLED and LCD have finally taken over from long-time standards like Plasma and CRT.They touch on several different models that are making headway as the new standards in post-production, and how emerging requirements like UHD, 4K, and HDR will likely affect your next major monitor purchase. Finally, they discuss the age-old question of whether or not technology has finally opened the door to more affordable color-accurate options, and what the minimum requirements should be for any display used in color critical work. The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you.The Coloristos are:Josh Petok, a colorist working on reality and episodic television in Los Angeles.Juan Salvo, a colorist and online editor for films and commercials in New York.Jason Myres, a colorist and post-production engineer in Los Angeles.

In this Episode of the ColorCast, the Coloristos discuss client supervised grading sessions and how to make the most of them. They cover important points on client interaction and time management, as well as learning who your key decision-makers are, and how to keep them confident in your abilities and grading workflow. They talk about the challenges of working in person, as well as remotely, and also go over tips for reading body language, arranging your suite, and developing a grading vocabulary, that will help you guide your clients toward their creative goals, while minimizing revisions, and staying on budget.The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you. The Coloristos are: Josh Petok, a colorist working on reality and episodic television in Los Angeles. Juan Salvo, a colorist and online editor for films and commercials in New York. Jason Myres, a colorist and post-production engineer in Los Angeles.

In this Episode of the ColorCast, the Coloristos discuss a number of major announcements live from the show floor at NAB 2014, including Resolve 11, the Blackmagic URSA camera, Cintel Film Scanner, AJA CION camera, Flame/ Flame Assist 2015, Baselight Dailies, and new pricing for Digital Vision Nucoda and Nucoda Look.They also cover major trends affecting both production and post, from new ProRes support on Windows for Assimilate Scratch and Quantel Pablo RIO, and on Linux for Resolve, along with the continued push toward the Cloud with Media Composer|Cloud, Adobe CC, and Scratch 8, and subscriptions with Media Composer and Smoke 2015.The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you. The Coloristos are: Josh Petok, a colorist working on reality and episodic television in Los Angeles. Juan Salvo, a colorist and online editor for films and commercials in New York. Jason Myres, a colorist and post-production engineer in Los Angeles.

In this Episode of the ColorCast, the Coloristos talk about LUTs and their use in post-production. They cover the basics of 1D and 3D LUTs, including how they're built, their various applications in a post pipeline, and the requirements for using them correctly. They also discuss the origins of LUTs from their early application as a film color science tool, to their more recent, wide-spread use as a way to transfer, as well as commercialize, creative looks for use in color grading.The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you. The Coloristos are: Josh Petok, a colorist working on reality and episodic television in Los Angeles. Juan Salvo, a colorist and online editor for films and commercials in New York. Jason Myres, a colorist and post-production engineer in Los Angeles.

In this Episode of the ColorCast, the Coloristos benchmark the 2013 Mac Pro and discuss it's performance results compared to a 2010 12-Core model with Resolve 10 using a number of different GPUs in both OS X Mountain Lion and Mavericks.They cover the pros and cons of buying a 2013 Mac Pro versus upgrading a 2010 machine, and discuss the major points that colorists and online editors will want to consider before purchase including 4K Playback, RED debayer, and Sapphire OFX plugin performance.Full test details, along with a downloadable PDF of the test results is available on LiftGammaGain.com:http://liftgammagain.com/forum/index.php?threads/new-mac-pro-resolve-benchmarks-d700-vs-d500-vs-2010.2256/The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you.The Coloristos are:Josh Petok, a colorist working on reality and episodic television in Los Angeles.Juan Salvo, a colorist and online editor for films and commercials in New York.Jason Myres, a colorist and post-production engineer in Los Angeles.

In this Episode of the ColorCast, the Coloristos discuss online editing and grading for broadcast TV, including passing QC, managing deadlines, and working efficiently under pressure. They also cover emerging trends in the industry, from online distribution and "all-at-once" delivery, to a new generation of editorial and color tools that are facilitating the rapid adoption of feature film workflows into high-end episodic television.The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you.The Coloristos are:Josh Petok, a colorist working on reality and episodic television in Los Angeles.Juan Salvo, a colorist and online editor for films and commercials in New York.Jason Myres, a colorist and post-production engineer in Los Angeles.

In this Episode of the Coloristos 1on1, Juan interviews Andrea Chlebak, lead DI colorist for the new sci-fi action film "Elysium". Andrea breaks down her ACES workflow, tells us about her techniques for keeping focused, and shares what it's like to grade Matt Damon's big blue eyes. All that and much more.The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you.The Coloristos are: Josh Petok, a colorist working on reality and episodic television in Los Angeles.Juan Salvo, a colorist and online editor for films and commercials in New York.Jason Myres, a colorist and post-production engineer in Los Angeles.

In this Episode of the ColorCast, the Coloristos discuss films that inspired them to initially get started in color grading, as well as past and current movies that influence the work they do on their own projects. They also talk about the growing collaborative relationship between the colorist and DP, and finally end the episode by submitting their picks for an impromptu round of "Desert Island DI." The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you.The Coloristos are: Josh Petok, a colorist working on reality and episodic television in Los Angeles.Juan Salvo, a colorist and online editor for films and commercials in New York.Jason Myres, a colorist and post-production engineer in Los Angeles.

In this Episode of the ColorCast, the Coloristos discuss round trip workflows. How to get from FCP7, Avid and Premiere into your color session? What are the potential pitfalls? The Coloristos all share tips on geting from app A to app B, and back; and when a one way ticket is your best option.The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you.The Coloristos are: Josh Petok, a colorist working on reality and episodic television in Los Angeles.Juan Salvo, a colorist and online editor for films and commercials in New York.Jason Myres, a colorist and post-production engineer in Los Angeles.

In this Episode of the ColorCast, the Coloristos discuss highlights for colorists at NAB 2013, including DaVinci Resolve 10, SpeedGrade CS7, Smoke 2013, the Scratch 8 preview, Mistika 7.2, and the new Baselight One Deskside and Slate Control Panel. They also cover new displays from Sony, Sharp, FSI, and Dolby, as well as major changes to Avid Media Composer and Symphony licensing, along with the curious omission of the RED Laser Projector at the RED booth this year.The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you.The Coloristos are:Josh Petok, a colorist working on reality and episodic television in Los Angeles.Juan Salvo, a colorist and online editor for films and commercials in New York.Jason Myres, a colorist and post-production engineer in Los Angeles.

In this Episode of the ColorCast, the Coloristos discuss color grading applications you'll be seeing at NAB 2013 from DaVinci Resolve, Adobe SpeedGrade, and Avid Symphony, to SGO Mistika, Assimilate Scratch and Autodesk Lustre. They discuss the continuing upheaval in post production, and how 2013 could be a make-or-break year for several different products. They also cover very new and upcoming products like the Blackmagic Cinema Camera, RED Ray, RED Laser, as well as Blackmagic's acquisition of Cintel and how they could help form the basis of new market segments like 4K delivery and affordable film scanning.***DaVinci Resolve Giveaway***Finally, we announce the winner of our very first giveway at the end of the show; a full license of DaVinci Resolve. A huge thank you to everyone that reviewed the ColorCast on iTunes. All of your reviews were fantastic and we really appreciate it. Also, a big thank you to Blackmagic Design for supplying us with a DaVinci Resolve license for the giveaway. The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production.If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you.The Coloristos are:Josh Petok, a colorist working on reality and episodic television in Los Angeles.Juan Salvo, a colorist and online editor for films and commercials in New York.Jason Myres, a colorist and post-production engineer in Los Angeles.

In this Episode of the ColorCast, the Coloristos discuss control panels and how they can help you grade with greater speed and precision, while at the same time allowing you to be more creative. They cover the pros and cons of a number of popular, affordable panels, and also review the advanced features available on control surfaces used with several high-end grading applications. The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production.If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you.The Coloristos are:Josh Petok, a colorist working on reality and episodic television in Los Angeles.Juan Salvo, a colorist and online editor for films and commercials in New York.Jason Myres, a colorist and post-production engineer in Los Angeles.

In this Episode of the ColorCast, the Coloristos talk about how they got started as colorists, what it was like just starting out, and important moments in their careers that helped them get established in the industry. They also discuss client management, creating a unique identity for yourself as an artist, and developing a set of techniques that will help you stand out as a colorist. The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you. The Coloristos are: Josh Petok, a colorist working on reality and episodic television in Los Angeles. Juan Salvo, a colorist and online editor for films and commercials in New York. Jason Myres, a colorist and post-production engineer in Los Angeles.

In this Episode of the ColorCast, the Coloristos discuss Digital Cinema Packages, or DCPs, the industry standard mastering format for Digital Cinema. They cover the current shift from film negative to DCP for theatrical distribution, several popular DCP creation packages, as well as the benefits and implications for content creators and theater owners. The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you.The Coloristos are:Josh Petok, a colorist working on reality and episodic television in Los Angeles.Juan Salvo, a colorist and online editor for films and commercials in New York.Jason Myres, a colorist and post-production engineer in Los Angeles.

In this Episode of the ColorCast, the Coloristos discuss video scopes, the basic types of waveforms, and how you can use them during grading to make critical color decisions. They also describe the differences between hardware and software scopes, discuss a variety of monitoring options, and cover the kinds of features you should look for whether you're grading for Film, Television, the Web, or Blu-Ray/DVD. The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you.The Coloristos are:Josh Petok, a colorist working on reality and episodic television in Los Angeles.Juan Salvo, a colorist and online editor for films and commercials in New York.Jason Myres, a colorist and post-production engineer in Los Angeles.

In this Episode of the ColorCast, the Coloristos discuss monitors for color grading, the various display technologies available, the difference between a computer display and a reference monitor, and the factors that make a display suitable for color accurate work.The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you.The Coloristos are: Josh Petok, a colorist working on reality and episodic television in Los Angeles.Juan Salvo, a colorist and online editor for films and commercials in New York.Jason Myres, a colorist and post-production engineer in Los Angeles.

In this Episode of the ColorCast, the Coloristos discuss many of the new features in DaVinci Resolve 9, including the re-designed user interface, log grading tools, audio support, grade management, transcoding, as well as new camera support, and how this release will affect the on-set DIT market, as well as color grading in general.The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you.The Coloristos are:Josh Petok, a colorist working on reality and episodic television in Los Angeles.Juan Salvo, a colorist and online editor for films and commercials in New York.Jason Myres, a colorist and post-production engineer in Los Angeles.

In this Episode of the ColorCast, the Coloristos discuss DaVinci Resolve 9, Smoke on Mac 2013, and Baselight ACCESS, and how each of these are changing post-production by providing high-quality color grading and finishing tools at much more accessible price points.The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you.The Coloristos are:Josh Petok, a colorist working on reality and episodic television in Los Angeles.Juan Salvo, a colorist and online editor for films and commercials in New York.Jason Myres, a colorist and post-production engineer in Los Angeles.

Color Grading-Correction demo with Baselight. Colorist Eric Anoloin at Crosspoint.com