The Men in Black franchise had to change to keep it fresh. But how to do it without disenfranchising the fans?
Technicolor’s highly experienced colourist Jean-Clément Soret put the eighties aesthetic on Sky’s new Chernobyl drama, while keeping it real
As part of our series profiling women in the FILM industry, we showcase the female colourists on our radar
For the first time, a major natural history series has been streamed; but what were the requirements to make it look better than traditional broadcast?
We speak to director Tom Harper and colourist Simone Grattarola about the making of Wild Rose, a new country music drama starring Jessie Buckley and Julie Walters
The SoCal trade show is once again upon us. Here’s our show preview
Overall VFX Supervisor Richard Stammers and MPC VFX Supervisor Patrick Ledda oversaw MPC’s teams, made up of more than 1200 artists and production crew, to deliver 1150 shots for “Dumbo”, over the course of two and a half years.
The new toolset uses machine learning analysis algorithms to isolate and modify common objects in moving footage—essentially automatically isolating objects in an image sequence. This has huge ramifications for accelerating VFX and compositing.
Following two years of rapid growth, Hackney-born Wash has announced its move to a brand new central London facility as it looks to improve its offering, and diversify into more long form work and visual effects-heavy pipelines.
As HDR finishing becomes the norm for many studios we look at what’s new in the monitoring world
This three-headed 18th-century romp continues the resurgence of film use for movies and commercials.
It’s a testament to the creatives involved in You Were Never Really Here that a warped time frame produced such a great looking film.