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FilmLight UK Press

FilmLight UK Press
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FilmLight develops unique colour grading systems, image processing applications and workflow tools that are transforming film and video post-production and setting new standards for quality, reliability and performance.

Meet the colourist: Matthew Troughton

Matthew Troughton, head of Picture Post and senior colourist, joined London post-house Creativity Media two years ago. He has shaped the look of a wide range of award-winning films including I Am Not A Witch, which won the 2018 BAFTA Award for Outstanding Debut by a British Writer, Director or Producer.

What brought you into colour grading?

I started out just as DI and digital grading was becoming a thing. At the time, I found that the people who knew how to wrangle the (often less than reliable) technical side of the machines also got the chance to get in and develop their creative side. I knew how to manipulate the buttons and cables, so I got to stand on the launch pad a lot quicker than I think I would today. That mix of creative and technical still hits the spot for me now, and means I never get bored.

When did you initially start using Baselight?

My initial adventures in grading were in the wild west of some of the early “new generation” systems: the likes of Final Touch (soon rebadged as Apple Colour), Assimilate Scratch and a variety of other systems. The experiences were pretty tough; lots of crashes and limitations that you had to hide and mow through with clients sitting over you! Nonetheless, we got some great creative results out of the systems and began to get a following of producers and creatives.

At the time I realised that in order to scale up, both in terms of business volume and creative results, we had to get a grading system that was both rock solid in its reliability and support, as well as top class in its tools. With this, we could spend the maximum amount of time throwing colour on screen and not get stuck fiddling with buttons and filters. FilmLight’s Arthur Johnsen made it possible for a small post house to make the step up, and Baselight has been without doubt our benchmark for that all those years.

Be it grading at Creativity Media, Tech and Twickenham in London or Galaxy in Belgium, it’s Baselight that’s the gold standard I look for. It makes me sigh with relief when I see it sitting there.

You’ve been working for two years now at Creativity Media. Could you tell us more about the company and your role?

Creativity Media is based in St. Katherine Docks near Tower Bridge in London, and is primarily focussed on indie feature drama and documentary. We offer full service post across picture, sound and delivery. Creativity Capital also provides finance services.

I’ve had the privilege to work on and provide grading services for a huge range of genres, styles and budgets, from the action and adventure of 47 Meters Down, Final Score and Stratton, through to some amazing award-winning drama such as I Am Not A Witch, God’s Own Country, and a recent favourite soon to be released, VS. (Versus). The company prides itself on not filling the facility with a litany of other work and focusses entirely on just a few films at a time, which allows everyone to really engage with projects in a way that I think is rare. It’s the total opposite of the sausage factory approach that sometimes appears, especially if budgets are tight. If we do it – we do it right. Last year we were the busiest film post-production house in the UK.

I work as the company’s senior colourist, but I also lead picture post as a whole as well as our technology strategy. It’s a big chunk of work but I find it hugely enjoyable blending the creative and technical work. In truth, more so now than ever, treating creativity and technology as one – with both driving each other – is critical to the future success of the industry.

What does a week look like for you as a colourist/creative when you’re also responsible for the picture post department?

I’m very strict about focus – when I’m grading, I’m grading. And it’s similar with the other hats I wear. This presents challenges as the world doesn’t stop outside the grading suite, but luckily we have an amazing team to make sure things run smoothly.

I find working at the coalface and collaborating with clients gives me a very immediate understanding of the creative desires and technical challenges that emerge on a day-to-day basis. As a result, we’re able to react rapidly to problems or engage with partners to enable creative ideas or needs. We are currently working on a fantastic Sony PS4 game where the Baselight support gang have been helping us to develop workflows and tweak various aspects of Baselight to get the results the developers want, both technically and creatively. It’s super useful to be in the middle of the fray myself.

Could you tell us more about the movie I Am Not A Witch? How did you approach the grading on this project?

From the outset, director and screenwriter Rungano Nyoni was very clear she wanted to avoid the stereotypes sometimes used to represent Africa. She really wanted to ground the film in reality and emphasise the arid dry nature of the location and setting whilst not making it look overtly hostile. She wanted to bring out the beauty of the imagery deftly captured by David Gallego, but without obvious embellishment.

Ironically, films where you don’t want it to look like you have done anything are often the most challenging; inevitably, there is lots to do, especially in marrying styles and crafting the journey of the colour and story across 90 minutes. It had to look effortless. We ended up building some great little base styles using a combination of tonal responses and colour cross talk models from film stock profiles. We had to be very careful to iron out the more aggressive tonal results you can get from some stock outputs to keep things gentle. The more organic colour responses, especially in the costumes and landscapes, really helped add that subtle finesse to the colour we were after.

What were the biggest challenges?

What was fascinating to me was the convergence of the language that Rungano, David and I had to come to when describing how we felt something looked or how we wanted it to feel. For instance, Rungano’s description of lush and verdant landscape, having much experience of Africa, was very different to David’s, who lives in Columbia with its lush monsoon-drenched deep greens, and to mine with the emerald morning leaves. We all had to thrash out what these terms meant to the colours and landscapes and skin tones in front of us and the difference was a real eye opener. It hammered home how easy it is for both artists and audiences to fall into stereotypes and clichés. Going on the journey to portray Rungano’s Africa with its gentler, more neutral, truth was really great.

Do you prefer grading on your own or along with the DoP and director?

The whole process is a hugely collaborative thing and the route to the best result is always to be spring boarding ideas – fighting it out if necessary! Everyone wants to watch the final film, be it on a cinema screen or an iPhone, and know they did the best they could. We always try to be involved from before the shoot – so working with DoPs, especially with references, style-finding grades and LUTs created for on-set are all a big part of it.

It’s also critical, however, for the team to be able to have a perspective – to leave the suite and come back fresh – so I think it’s always important to not slavishly have anyone stuck in the suite. Normally we will have a patch of time where I flesh out some reels and then we review, which I find can help a lot of people get where they want to go quicker. It’s easy to get snow blinded quickly. I always take peoples’ first reaction as vital on reviews as well. Too many times you can go back to a shot that jolted someone and have them say, “oh, maybe I was imagining it” when they see the clip repeated 20 times upon investigation. But it’s all about the run – if it felt odd having watched the previous five minutes it will be there the next time you see it.

What are your thoughts on HDR?

I think, like anything, it’s audiences that will drive its uptake. If the huge move to mobile devices is evidence of anything, it’s that content is king. If it’s engaging and entertaining, audiences are happy to absorb those stories and people on the smallest and simplest of devices. That said, I think HDR brings an exciting extra dimension to the viewing experience, opening up a whole new set of opportunities creatively. So it’s a brilliant thing we are exploring, but HDR does have to demonstrate that it can consistently give something more to audiences over the long term. In reality I imagine it will be one of those things that TVs will simply have as standard in the coming years, much like 4K is now: a silent transition, whether the audience appreciates it or not. Once that happens, the difference on a TV between a production that’s invested in an HDR version will clearly distinguish itself from an SDR show – so I think that’s where it will really snowball.

You’ve also worked on a film commissioned by Netflix called ‘Mercury 13’. What was the pipeline like on this project? How was the overall experience?

Netflix has some very forward-looking and rigorous requirements across the board, from acquisition formats and colour management all the way to final delivery, and it’s great to see such value and confidence placed on the content they make. We worked natively at 4K in Baselight with all the input formats, which ranged from Sony and RED cinema cameras all the way down to restored Umatic archive and stills scans. With a documentary film holding such an eclectic mix of media it was great to be able to engage with Netflix in such a dynamic way, as their team was able to find a path that got the best results but still came in on budget.

What colour grading project are you the most proud of?

I’ve had my job made much easier by being able to work with some really great DoPs. There are a couple of films I’ve worked on with an amazing cinematographer called Felix Wiedemann that I’ve loved. The Go-Between, the recent BBC remake that won Felix the BSC Best Cinematography award last year, was great – it’s always a challenge to squeeze the most out of three days on a 90 minute drama, but I think that worked out nicely. Stratton, an action film I worked with Felix was also really great fun! Very recently, VS., God’s Own Country and Postcards from London are amazing films that we were also all very lucky to work on.

If you can tell us, what are you working on next?

We’ve got a busy year ahead! The Corrupted, a thriller starring Timothy Spool and Noel Clarke, and a great indie movie called Monsoon, set in current day Vietnam and the sophomore project from Hong Khaou, director of Lilting. Plus some great documentaries: Motown for Fulwell 73 and Maiden for New Black Films, a fantastic telling of the first women to sail around the world in the Whitbread race. We are also working on a Sony game for PS4 called Erica, a live action interactive experience that will be out next year.

FilmLight meet the colourist: Swapnil Patole

Swapnil Patole is a senior colourist based in Mumbai. Since starting his career 14 years ago, he has graded a plethora of commercials in all genres and for brands such as L’Oreal, Garnier, McDonalds, Honda and Nivea, to name a few. He has more recently worked on feature films, festival short films and music videos, including a project for SONY Music India.

Today he is senior colourist and DI Head of Department (HOD) at Famous Studio in Mumbai.

Having originally studied commerce, what brought you into the world of colour?

Everything started in 2003. I finished my studies and was not too sure which direction I wanted to take for my career. One day a friend, who had just started working for one of the most reputed post-production houses in Mumbai, took me to his new work place: Prime Focus. I was totally new to this and I remember being simply mesmerised by the whole work culture and the look of the studio. I visited the grading suite and, I must say, it was love at first sight. I gazed at the telecine grading suite with multi-monitors all around it, just like a big space ship. From that moment, I knew I wanted to work there. Even though I was clueless about the industry and the technical side of it, I just knew.

A few months on, I was fortunate enough to join Prime Focus and started working as a machine room operator. As I now had a goal, I worked hard, learned and slogged day and night and slowly but surely made my way up from machine room to tape operator, telecine negative loader and telecine assistant to then telecine junior colourist. I finally became a colourist in 2007 when I joined Pixion post-production studio. Since then, I haven’t looked back. To be where I stand today took hard work, dedication, passion and, most importantly, my love for colour grading. I am, today – as Senior Colourist and DI HOD for Famous Studio – a very content soul.

What did you learn from your past jobs that you are grateful for today?

Each day and every new job helps you to learn and become more skillful. It forces you to be better than before, more creative and productive for your clients. I am extremely grateful that every day I work on two to three commercials, which helps me understand rapidly about treatments, palettes, directors, the visions of DOPs and mixing colours to deliver the best possible grades.

Do you see things with a different eye now than when you began?

Yes, my eyes are more analytical now compared to when I started grading. I now understand better visual treatment, the nature of earth and its light, its people, as well as culture and different aspects of life. I read about colour science, started a ‘black book’ for grading reference, followed cinematographers work worldwide and worked with the best technicians from India and overseas. I invested these experiences into my grading craft and my work has been significantly fine tuned over the years. And, for the last few years, Baselight has played a significant part in making my work look sharper.

Could you tell us more about Famous Studios in Mumbai and your role there?

Famous Studios was set up in 1946 and has evolved to become one of the finest post-production houses in India for TV commercials, international broadcast channels, film makers and advertising agencies all around the world.

It is a creative, innovative and experienced studio, which also possesses all the necessary tools and workflows for execution/processing of all types of audiovisual content. With more than seven decades of experience in the industry, trust and flexibility is a given.

With this vast experience and global reputation comes a lot of hardship and responsibility for me as Senior Colourist and DI HOD. I am driven to maintain and build a respectful colour grading (DI) business and workflow platform with a set of clients around the globe.

You switched grading systems in 2016, to Baselight. What advantages have you discovered?

Up until 2015 I had been grading on all kinds of grading hardware and software systems. Then I switched over to Baselight, and since then my experience of grading has become sky high.

For example, with multiple format camera timelines from ALEXA, RED and Canon to Sony A7s or DJI, Baselight handles it beautifully with colour spaces and real-time playback. This gives me spectacular speed and flexibility to grade and finish jobs in time. And this is all mostly because it is so customisable.

I use a Blackboard panel because of its design and interface and, with Baselight, it allows me to work for long hours without being exhausted. Lets say a colourist can usually work eight hours a day – Baselight lets me work 12. Clients in India adore Baselight as it is better than any other grading system and it can handle bigger jobs in just a click of the fingers.

It has many advantages, and to mention just a few is not fair of me as a colourist. Having said that, what I love most about Baselight is the colour science behind it and how smoothly it operates with the colourist’s vision and the control of the Blackboard to achieve a look for a film.  On top of this, there are constant Baselight updates and upgrades for its colour spaces, the plugins and the keying and shape tracking tools, which somehow make everything seamless. There is no option for me but to grade all my jobs on Baselight.

You’ve worked on a variety of projects – commercial, narrative and music videos. How do they differ and what do you enjoy most?

As a colourist I have raised my bar by grading a couple of feature films. This trained me to create and visualise colour palettes in a different technical and visual way to how I would on a commercial grade.

When it comes to grading a commercial, there is more scope to experiment with colours and it can be really creative. Feature films require more or less constant contrast levels, but can have multiple colour tones. And when it comes to music videos, it’s absolute fun and you can go a little mad with grade options.

Having said that, as an artist I love all genres of film to grade because each has its own character and it is very satisfying and pleasurable to see my colour grade on prestigious films.

How would you describe your ‘look’? What do you think you offer that other colourists in Mumbai do not?

Personally, as a colourist, visual stunning images are more addictive than technical aspects of colour grading. I always try to grade in an eccentric way, as I have always believed that your work as an artist is more recognised when you approach it differently, which has also brought me visibility and appreciation from industry technicians and film makers.

As an artist, I do not strive to be superior to other colourists with my grades, as I value artisans and respect all colourists around the globe.

How important is the technology you use and how has this changed in the last 14 years that you’ve been grading?

Technology is one prime factor in all kind of industries to be productive and deliverable. The colourist journey goes hand in hand with technology.

In my opinion, colour grading methods haven’t changed from the celluloid world to the digital world of colour. It is the power of grading systems that have made a giant leap from limited layers, shapes and keyers to unlimited layers, 3D tracking, multiple operations in the timeline along with render speeds. This is remarkable. As one of the roles of a colourist is to meet daily deadlines, reliable technology is a must. Baselight has definitely made the process of colour grading more accessible, flexible and faster, with the instantaneous nature of its technology.

How do you like to work with the cinematographer?

My working culture is staggeringly varied when it comes to the cinematographers I am associated with, and the new ones too. If they need my involvement from pre-production with regards to colour reference or making LUTS for projects, I always deliver my services to them. If the cinematographer involves me directly in post I still deliver them what they are expecting me to do. I don’t prefer or follow any specific method to work with DOPs, I just blend with their requirements and provide them with a comfort zone.

Which work are you the most proud of?

I do not button down my jobs, as they are all equivalent and precious to me. All the work I am associated with is close to my heart and very dear to me.

What advice would you give to a junior colourist starting his/her career today?

Follow your heart, learn your surroundings with nature and implement those in your work. Learning grading systems, hardware and software won’t make you a colourist, but learning the skills of colour grading with time, passion, dedication and patience will make you become a respectful colourist. It’s not always necessary to please everyone with your work, so learn to let it go when it happens.

Who would you ask to colour grade your own movie? Or would you do it?

I am not really keen or interested in making my own movie in the future. But let’s say hypothetically if I was making one, I would prefer to grade it with someone who is grading it because he/she loves colour, and with the same passion that drives me.

What do you dream to achieve by the end of your career?

I haven’t planned what I will do once my career comes to an end, but I would love to see myself making benchmarks with wild bold colours, and to see my grades on films and advertisements become a reference for future colourists and technicians around the world.

FilmLight Case Study – Colour and VFX services at Redchillies Mumbai

Makarand Surte was part of the foundation team of RedChillies.Colour at the start of 2017, an initiative of Redchillies.VFX in Mumbai. He has worked on many productions both before and since, including the short film Adnyat, which won the National Film Award for Best Non-Feature Film Cinematography in India.

 

Tell us a little about Redchillies. Colour and how you differentiate yourselves in the marketplace?

Redchillies is a household name now, a conversation starter. The minute I say I’m with Redchillies, everyone stops whatever they’re doing and asks me, “How is SRK” (Bollywood actor and producer Shah Rukh Khan) I guess that’s one of the great ways we differentiate ourselves.

So it was in 2016 when Fan the movie had just been released when my coworker and friend Ken Metzker and I were approached by Keitan and Harry, CEO and CCO of Redchillies.VFX, who suggested the possibility of having a colour grading setup for Redchillies. This was a great collaboration opportunity for our clients and us. And that is how it all started for Redchillies.Colour. We were able to move with the majority of our team from Reliance MediaWorks so we have been able to fly right out of the gate.

Our quality, involvement with our clients, understanding of the directors’ requirements as well as our vision is what our colourists are known for. Building a good rapport as well as delivering our projects on time; that’s how we really set ourselves apart.

 Can you describe your colour and VFX services?

Redchillies.VFX has been in the VFX business for 12 years now; we’re embarking on our thirteenth year on 1 April 2018.  We started the VFX division in 2006 with an eight-member team and have expanded to over 400 employees and worked on 35 movies, including two Hollywood and two Chinese productions. Our VFX services include: On Set Visual Effects, Concept Art, Previs, 3D Assets, 3D Animation, Crowds, Creatures, Matte Painting, CG Environment, CG Effects, Compositing, BG Preps, and Digital De-aging.

RedChillies.Colour was born in January 2017, and we moved into our new state-of-the-art facility in May of that year. We had a very keen and fantastic team ready to join us. Our aim was to provide a fully-fledged post-production service to the fraternity along with our International VFX division.

We have graded over 22 movies, in regional languages as well as for Bollywood.  We offer services like Digital Colour Grading Features, Trailers & TV Spots, Editorial & Conforming, ACES workflow, Digital Cinema Mastering & KDM Delivery, Digital Mastering for 4K UHD & OTT Content, On Set Services DIT & Dailies.

Do you and Redchillies’ VFX team work together sometimes?

Yes, very much. Once we have signed on a script, we sit and discuss the movie theme so I can understand the tones, the background and the storyline, which helps me in my colour grading process. Whilst the project is still being graded, the VFX team and supervisor sit with us in the grading theatre and give their input too. Here, it’s important to mention teamwork and acknowledgement as well as respecting one another. That is how I have always maintained my work relations with clients as well as team members.

How did your journey in post happen?

I have an engineering background so after my studies (about 20 years ago) I joined Crest Communications. There I was an intern, helping them with scanning and assisting colourists in odd jobs. I observed a lot and tried to understand the techniques used, as being a colourist is a complete on-the-job-learning role. I even assisted senior colourist Wayne Tyson at Prasad Lab (Efx) at a meagre salary of approx. 25 pounds a month.  This is when my boss at the time told me, “if you can learn it in your own time, you can become a colourist.” I guess that’s what motivated me to learn and how my journey into the world of grading started.

How do you use Baselight on a daily basis?

I use Baselight every day to grade feature films in India.

Baselight makes my life so easy, particularly Hue Angle, which helps in separating skin tones of the actors and also enhancing their facial structures.  In short, Baselight can be compared to a small tank loaded with weapons, each having their unique qualities.

What do your clients like most about Baselight?

I don’t want to get too technical here regarding formats and resolutions, but since Baselight is known for its speed of work and its intuitiveness to colour grading, it helps me work faster to achieve the colour aesthetics that both my clients and I want.

Could you describe a recent project completed in colour and what Baselight tools were particularly beneficial?

I’ve worked on almost 50 projects on Baselight, but the most recent one is a suspense thriller called Ittefaq.  It’s set against a rainy night in the city of Mumbai across three days and with two consecutive stories. I had to capture this and used a lot of grey and dark tones. The DoP, Michal Luka, and I had to ensure we portrayed this thriller with the use of colours and hues. Thus, Baselight tools helped in getting the image to the right point, and swiftly.

Another movie I recently enjoyed working on was Furkey Returns, a sequel to a slapstick comedy shot by DoP Andre Menenzes. This movie was the exact opposite to Ittefaq as this played on a lot of vibrant colours and, of course, our world famous Bollywood songs.

How is your working style?

I like to understand the director as well as the DoP’s vision. What is it that they actually want to achieve from the movie? I also aim to do justice to the storytelling.

What are the biggest challenges you face today as a colourist in India?

India is a country of colour, festivals, laughter and mirth, all of which is expressed very well with the use of different and vibrant colours. ­The audiences are used to seeing a lot of colour in movies and as a colourist I need to live up to these expectations, which can be a big challenge sometimes. Why? Because actors hail from different regions across India and have varying skin tones, so to balance that becomes quite tricky, as I also need to match it to the script and the story.

Marathi’s short film Adnyat bagged the accolade for National Film Award for Best Non-Feature Film Cinematography this year. Can you describe your work on this particular project?

This was a project close to my heart and the subject is also very touching. It’s a regional feature film portrayal of an eight-year-old boy who is unaware of his own religion, and he sets out on a journey to borrow religious customs and traditions to discover himself. Through this film, we presented a silent soulful story, with religious sensitivity as the movie questions the true meaning of religion.

Working on Adnyat was a personally fulfilling and enriching experience. The colours that I worked with have gone on to give the vision of the director and cinematographer and achieve more depth and meaning in every frame.

In this movie, colours play a very crucial part as the story is narrated with colour, rain and music. Set against the background of the grey monsoon, we can see the use of correct hues, colours, expressions as well as the minute details like the grey clouds, which enhance the movie setting.

Originally, the director and producer of this film had gone to another VFX house to get the clouds added. But through my skills and Baselight’s toolset, we were able to recover the original clouds in the shot and keep the images more organic.

Where do you find inspiration?

As clichéd as it might sound, I get inspiration from my 13-year-old daughter, Vanshika. It’s amazing how the kids of today’s generation think, the ideas and perspectives that they have. It’s mind-blowing. She is also creatively inclined, so I enjoy watching her and seeing how she solves problems and comes up with ‘out of the box’ ideas. It inspires me to pull up my socks and be better at my job.

 What do you do to de-stress from it all?

I de-stress by playing outdoor games.

What’s next for you?

 I don’t ever see myself not working, this is my passion! However, I would also like to teach students in the future, as we don’t really have schools or courses for colour grading. Imparting knowledge and helping the grading world – that’s maybe what’s next for me.

How has your role as a colourist changed over the last decade?

I think the medium has changed. From negative to digital, the role still remains the same. Technology has changed too, so as a colourist I have adapted and am adapting still. I believe learning is a daily process.

What piece of work are you most proud of to-date and why?

To choose one particular work of mine is truly tough as I treat each project equally and pour my heart and soul into it. However, if I have to name a few, I’d say, as a colourist, I’m really proud of my work for the films 3 Idiots, Byomkesh Bakshi, Once Upon A time in Mumbai, Agnipath. And of course, the short film which won the National Award for Best Cinematography, Agnyath.

FilmLight introduces BLG for Flame at NAB 2018

At NAB 2018, FilmLight is launching BLG for Flame as the latest product in the popular Baselight Editions range. BLG for Flame is a Linux-only plugin for Autodesk Flame that applies a Baselight grade automatically, either from Baselight Linked Grade (BLG) files or directly from a Baselight scene.

BLG for Flame applies a grade that has been authored in another FilmLight product – be it Baselight, Prelight, Daylight or Baselight Editions for Avid or NUKE. In its initial implementation for Flame 2018, grades can be exported as BLG files to a directory, where BLG for Flame will match the shots based on timecode and automatically apply the grade. In the upcoming Flame 2019 release, grades can be pulled directly and automatically from a Baselight scene – even while the scene is being graded on the full Baselight system.

BLG for Flame allows the Flame artist to see how their work will look with the grade applied. The artist can also produce graded work-in-progress renders for clients without the round trip of rendering out new images from the Baselight system. This ability means a more timely approach, as the VFX artist can easily and quickly access graded material without the assistance of the colourist.

Will Harris, Flame Family product manager at Autodesk, comments: “BLG for Flame is a great metadata-only workflow between Flame and Baselight – allowing you to apply BLGs to shots in Flame on an entire timeline or individual shots in Batch. I think it will be a fantastic new workflow enabler and a boon for Flame and Baselight users, allowing artists to quickly apply the latest colour grade on their work-in-progress conform or compositing.”

BLG for Flame will be released in Q2 2018, and visitors to NAB will be able to see the product working in Flame 2019 on the FilmLight booth (#SL4310) as well as at the Autodesk Suite at the Renaissance Hotel (#632).

Baselight Editions 5 for Avid and NUKE are also being demonstrated on the FilmLight booth at NAB2018. Baselight 5 for Avid is on the Avid booth (#SU902) too, with daily presentations from Mike Nuget, colourist and finishing editor. Mike has a rich experience in grading both high profile documentaries and series, including the recent Netflix series Rotten and the Academy Award Nominee short documentary Edith & Eddie. At NAB he will share his experiences using the new Baselight for Avid 5 tools, with HDR in mind.

“Baselight for Avid has changed the way I look at projects altogether.  Now I can approach workflows and colour correction in a whole new way,” said Nuget. “Being able to take advantage of FilmLight’s colour toolset within my platform of choice is exactly what I need to take my colour to the next level.  For Edith & Eddie, there were times when I needed to colour in both Avid and the full Baselight system almost simultaneously.  Not only was I able to do this flawlessly and quickly – I had control of the grade at every step.”

 

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