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  • 11 February 2025 15:16 | Keith Gayhart (Administrator)

    IMDbPro is offering its lowest price of the year- as low as $8 a month after a 30-day free trial for brand new members! Stand out to industry decision-makers, claim your IMDb page, upload photos and demo reels, and more with IMDbPro Premium. Get the lowest price of the year after your 30-day free trial. Try IMDbPro Premium for free!


    CSI members who have already redeemed their affiliate discount are ineligible for this promotion. This offer expires February 14.

  • 03 February 2025 15:56 | Keith Gayhart (Administrator)

    FilmLight, CSI Germany and BVK are hosting a Colourist Meetup in conjunction with Berlinale 2025. The event happens on Monday, February 17 at Wolf Kino, Weserstr. 59, 12045 Berlin. Doors open at 6:00pm followed by presentations and drinks at 6:30pm.

    Daniele Siragusano, Image Engineer at FilmLight, will host a presentation titled “Refining colour grading workflows with Baselight 7 and machine-learning algorithms.” It will describe how AI-driven algorithms are transforming colour grading. It will showcase the strengths, limitations and potential of machine-learning for the big screen.


    Attendess will also discover upcoming tools in Baselight 7 with FilmLight’s Andy Minuth, including enhanced matte handling, texture management, and deeper machine learning integration.

    You are invited to stick around for a few drinks. We look forward to seeing you!

    Reserve your spot here.

  • 28 January 2025 13:34 | Keith Gayhart (Administrator)

    Colorist Society wishes all its members a happy, prosperous and creative New Year. We appreciate your continued support as we work to build a stronger organization and promote the art of color. Although significant obstacles lie ahead, we remain optimistic about the future of our industry and our craft.

    Over the past few years, our industry has faced a series of unprecedented challenges. The pandemic followed by strikes by actors and directors took a heavy toll on production that we’ve yet to recover from. The recent devastating fires in Southern California may also negatively impact the film and television industry at least in the near term. How the advent of AI will affect production in general and color in particular remains unclear.


    Yet, looking back on 2024, Colorist Society can point to several significant milestones. Our Colorist Mixers at NAB, IBC and Camerimage were each a great success both as networking opportunities and as a chance to relax and have fun. We also co-hosted technical seminars at NAB, Camerimage and BIRTV. If you were not able to attend these insightful events, you can watch them in their entirety on our YouTube channel.

    Our membership continued to grow, and we have extended our reach to new markets. We are especially excited about the recent establishment of our China Chapter, open to all Chinese -speaking colorists. China is one of the world’s fastest growing production markets and we look forward to working with local colorists in setting standards and building a strong community.

    We have also been working to maximize networking and collaboration among colorists. Our social communities on Facebook, LinkedIn and Threads are very active. We encourage you to take advantage of these growing resources. This past year, we also launched a Discord server  exclusively for our members. It is a great forum to connect, share insights, organize chapters and events, and access employment and project leads.

    Looking ahead, we have ambitious goals for 2025. We are committed to establishing additional local chapters. We are seeking to establish stronger ties with other industry organizations, including VES, ASC, BSC and BVK, and to provide additional resources for our members through reciprocal relations with ShotOnWhat, SHOTDECK and other service providers. We are also increasing our effort to have “Color” added as a distinct discipline in IMDb listing. You can do your part by adding an upvote to our post on IMDb.

    With your help, 2025 will be Colorist Society’s best year yet!

    Best regards,

    Kevin Shaw

  • 09 December 2024 14:05 | Keith Gayhart (Administrator)

    On November 18, iColorist + Color Society hosted a Colorist Mixer in parallel with FilmLight Colour Awards and the EnergaCAMERIMAGE International Film Festival.


    The event was held at Restauracja Nova in Torun and included a panel discussion entitled When the Art of Cinema Meets the Science of Perception. Panelists included Dirk Meier, FilmLight Jury member and freelance colourist and lecturer; Charles Poynton, PhD, color scientist; Kevin Shaw, CSI, Colorist Society Founder and President, colorist instructor; and Asa Fox, colorist.



  • 06 November 2024 16:51 | Keith Gayhart (Administrator)

    On Thursday, November 21, BVK and CSI will host a seminar at Camerimage titled “Mythbusting: Colour, Camera, Cinema.” The event will happen at 10am in the seminar room at CKK Jordanki.

    Do you still believe there are pixels on a sensor, that sensors have a gamut or that one color science can be better than another? Have you ever insisted on shooting RAW without a solid reason? Do you still trust high CRI values or think that full is better than legal? Discover the truth behind color science, cameras, and cinema in this insightful session.


    Participants:

    Professor Andrew Stockman, vision researcher, University College London

    Dr. Charles Poynton, CSI, Canadian colour scientist

    Dirk Meier, BVK CSI, German colorist and lecturer

    Laurens Orij, Dutch senior colorist

  • 29 October 2024 12:53 | Keith Gayhart (Administrator)

    Senior Colorist Asa Fox, a current Filmlight Colourist Awards nominee, will take part in a panel discussion entitled When the Art of Cinema Meets the Science of Perception at this year’s Colorist Society Mixer at Camerimage. Other panelists will include Dirk Meier, FilmLight Jury member and freelance colourist and lecturer; Charles Poynton, PhD, color scientist; and Kevin Shaw, CSI, Colorist Society Founder and President.


    Asa is nominated for the Spotlight Award in the Filmlight competition for his work on the independent feature Showdown at the Grand (Orson Oblowitz, director; Noah Rosenthal, cinematographer). His previous work includes collaborations with directors such as Roman Coppola, Young Replicant, Mimi Cave, Nadia Lee Cohen, working for Deluxe / Company 3 and The Mill. He was nominated for a Filmlight Colourist Award last year for the film Unidentified Objects.

    Free and open to all, the Colorist Mixer will happen on Monday, November 18 from 6 - 10pm CET at Restauracja Nova in Toruń. Register here 

  • 28 October 2024 13:42 | Keith Gayhart (Administrator)

    Jury selects 25 nominees across six categories – winners to be announced at EnergaCAMERIMAGE on 17 November

    FilmLight has revealed the nominees for the 2024 FilmLight Colour Awards. In their fourth year, the awards attracted over 500 entries from 46 countries across the globe and the independent jury of cinematographers, colourists and creatives have now revealed the names of the 25 colourists shortlisted across the six categories.

    Ahead of casting their final votes, the 2024 jury gathered to discuss the entries. During the discussion, George Miller, 2024 Jury Guest of Honour, talked to Jury President, Mandy Walker, and other jurors, about his evolving relationship with colour.


    “For the films I work on, we tend to get the colourist involved early,” says Miller. “The biggest problem, I think, is that visual effects can be so widespread – with people from all over the planet working on it. With this, there’s a risk of losing cohesion, and the colourist is the nexus of all these interactions. This is why I am so excited to be doing this and seeing all the wonderful work that is being completed across so many different platforms and media – it is a very significant moment and one that will develop even more.”

    This year’s nominees for the award for the grading of a Theatrical Feature are:

    • Dune: Part Two – graded by David Cole at FotoKem
    • Furiosa: A Mad Max Saga – graded by Eric Whipp at alter ego
    • Poor Things – graded by Greg Fisher at Company 3
    • Saltburn – graded by Matt Wallach at Company 3
    • In the TV Series / Episodic category, the nominees are:
    • Eric (season 1, episode 1) – graded by Toby Tomkins at Harbor
    • Expats (season 1) – graded by Seth Ricart at RCO
    • Griselda (season 1) – graded by Ian Vertovec at Light Iron
    • The Zweiflers (season 1) ­– graded by freelance colourist, Manuel Portschy

    In the Commercial category, the judges chose:

    • Air Canada, Ticket to Dream – graded by Wade Odlum at alter ego
    • McDonald’s, We the (In)visible – graded by freelance colourist, Manuel Portschy
    • Riyadh Season: Crawford Vs Madrimov, Everything Or Nothing – graded by Philip Hambi at The Mill
    • Zara, SS24 STUDIO COLLECTION – graded by Tim Masick at Company 3

    For the Music Video category, the judges selected:

    • Brodka x Igo, Myślę sobie Ż – graded by freelance colourist, Nadia Khairat Gomez
    • Kaismos, Sailed – graded by Sylvain Canaux at Saint Louis
    • Nettspend, Nothing Like Uuu – graded by freelance colourist, Brian Charles
    • Shake Stew, Lila – graded by freelance colourist, Manuel Portschy

    The Spotlight award aims to recognise the unsung talents in the industry. For this category, the nominees are:

    • Asleep in My Palm – graded by freelance colourist, Andrew Ceen
    • La Espera (The Wait) – graded by Raúl Lavado Verdú at Misterio Color Lab
    • Showdown at the Grand – graded by colourist, Asa Fox
    • The Featherweight – graded by Sam Daley at Light Iron
    • Yurt – graded by freelance colourist, Pascal Nowak at Cosmodigital

    New for 2024, the Emerging Talent award celebrates the work of young colourists (age 18-30). For this category, the nominees are:

    • Baltic, Harmonical Diffraction – graded by freelance colourist, Douglas Dutton
    • NBA, Everyone's Game, DC – graded by freelance colourist, Ryan Urzi
    • Nike Mexico, Piérdelo Todo, Gánalo Todo – graded by Stephanie Park at Rare Medium
    • Woolworths, Brand Reset – graded by freelance colourist, Terry Simpson

    This year’s winners will be announced at the annual FilmLight Colour Awards ceremony, taking place at EnergaCAMERIMAGE in Poland on 17 November 2024.

    The FilmLight Colour Awards are led and organised by FilmLight in conjunction with EnergaCAMERIMAGE. They are supported by prominent international groups such as: AFC (French Society of Cinematographers), AMC (Mexican Society of Cinematographers), ASC (American Society of Cinematographers), BSC (British Society of Cinematographers), BVK (German Society of Cinematographers), CNSC (Chinese Society of Cinematographers), CSI (Colorist Society International), Imago (the International Federation of Cinematographers), ISC (Indian Society of Cinematographers), PSC (Polish Society of Cinematographers), ShotDeck and more. 

    For more information on the awards, visit: www.filmlightcolourawards.com 

  • 15 October 2024 16:29 | Keith Gayhart (Administrator)

    At BIRTV 2024, Kevin Shaw, President of the Colorist Society, chaired a panel hosted by the Chinese Society of Cinematographers (CNSC) to discuss the use of High Dynamic Range (HDR) today. Links to segments from the discussion appear below.)

    Here, Kevin shares is thoughts:

    HDR has been debated since its launch in 2016, but as it evolves, we are still discovering the part it will play in tomorrow’s visual universe.


    Here are five themes that arose in the recent panel discussion about how HDR is shaping filmmaking in 2024:

    Removing limitations

    HDR's ability to remove the limitations of Standard Dynamic Range (SDR) filmmaking is giving creators more range – literally. HDR allows cinematographers an easier way to deal with sky and other naturally high contrast situations, and to access a broader spectrum of colors which enhances the overall depth and realism of their visuals. HDR is about much more than just brighter images – it’s about creating a more immersive experience for viewers. By harnessing the new HDR display technologies, filmmakers can involve audiences in a much more emotional way.


    Pursuing aesthetic goals

    HDR fundamentally shifts the focus from overcoming technical challenges to pursuing more aesthetic goals. With HDR, cinematographers are empowered to explore creative visions using modern lighting and the improvements in color management from recent years. This evolution means that filmmakers can capture stunning narratives that resonate on a deeper emotional level. The increased dynamic range translates into more nuanced storytelling, allowing subtle details to shine through in both shadows and highlights.

    Enhanced visibility

    HDR not only enhances the viewing experience for audiences, but also equips cinematographers with tools to see more of what they’re capturing. The improved visibility of image capture means that professionals can finetune their shots in real time, ultimately leading to a more polished final product. This advancement creates an exciting opportunity for cinematographers to push the boundaries of their craft, especially when collaborating with the finishing colorist early in production.


    More affordable, more ergonomic

    Although HDR displays were once deemed prohibitively expensive, the BIRTV 2024 panel celebrated the newer, increasingly affordable and ergonomic solutions. This opens the door for a broader market, enabling emerging filmmakers and smaller production companies to access the same tools as major studios. With HDR, high-quality production is no longer the exclusive domain of the elite, allowing for a more diverse range of voices and stories to be told with unprecedented quality.

    Heightened inspiration

    As the discussion drew to a close, it became clear that HDR is more than just a technological advancement; it's an inspiring tool that rekindles great passion within the filmmaking community. Many panelists expressed how hard it is to revert to SDR after experiencing the freedom and vibrancy that HDR provides. The emotive power of HDR allows filmmakers to express their visions with less labor and more creativity, leading to a more enjoyable and fulfilling production process.


    The BIRTV 2024 panel was a call for filmmakers everywhere to embrace HDR. By removing limitations; enhancing color management; and making this technology more accessible; HDR empowers cinematographers to elevate their art. As we move forward, HDR will undoubtedly play a crucial role in defining the future of visual storytelling – making this an exciting time to be a part of the cinematic world.

    By Kevin Shaw, CSI

    Kevin is President and Founder of Colorist Society, Co-Founder of the International Colorist Academy, and a globally renowned expert on color grading and related technology.

    Watch the panel here:

    HDR: The Future Is Here" Part 1 "What HDR Means to You"

    HDR: The Future Is Here" Part 2 "First Experience of HDR"

    HDR: The Future Is Here" Part 3 "HDR on Set"

    HDR: The Future Is Here" Part 4 "Expansion of HDR"

    HDR: The Future Is Here" Part 5 "Producing HDR"

    HDR: The Future Is Here" Part 6 "Expectations & Hopes for the Future of HDR"

    HDR: The Future Is Here" Part 7 "Debunk the Myths of HDR"

    HDR: The Future Is Here" Part 8 "Start to Create an HDR Project"

    HDR: The Future Is Here" Part 9 "Advice from the Veterans"


  • 07 October 2024 17:08 | Keith Gayhart (Administrator)

    Filmlight is hosting two events in New York City this month.


    On Tuesday, October 15th, the company will conduct a free Baselight training workshop for color assistants, conform artists and online editors. Running from 9AM to 3PM at the Dolby Screening Room, the course will cover the fundamentals of building timelines, media management, and working with color spaces and grading layers in Baselight. Space is limited. Register here.


    Also on October 15, Filmlight will hold an evening panel discussion featuring some of New York’s top colorists and DPs. Panelists Elodie Ichter, Senior Colorist, Light Iron; Nat Jencks, Supervising Colorist, PostWorks NY; and Cinematographer Chris Teague will discuss look development, cross-city color workflow, and Dolby Vision HDR delivery involved in FX’s Shogun and Disney’s Star Wars: The Acolyte. The event begins at 6:30PM at the Dolby Screening Room. Register here.

  • 10 September 2024 12:10 | Keith Gayhart (Administrator)

    Colorist Society Hollywood recently hosted an event in tandem with Barco on the latter’s Lightsteering Technology for HDR projection. The new technology, which promises to improve the picture quality of films shown in theaters, includes a color grading plug-in optimized HDR color grading that integrates into DaVinci Resolve and FilmLight Baselight.

    More than two dozen colorists attended the event held at Barco’s demo facility in Hollywood. After an introductory presentation from Barco’s Joachim Zell, Iris Wu and Anders Ballestad, attendees were given a chance to test drive the system themselves.


    CS Hollywood’s Troy Smith, CSI says that most people came away impressed. “For me, the biggest takeaway was how vastly different HDR projection is from current theatrical projection,” he observes. “I hope it’s adopted by more theaters. It might give people a reason to return to movie theaters. The HDR image combined with Atmos sound makes for a different theatrical experience.”

    John Daro, CSI had attended demonstrations of Barco’s HDR projector before, but this was the first time he’d had a chance to try out the color tools himself. “It was cool to have the Resolve setup and be able to turn the wheels, see what the projector is actually capable of,” he recalls.

    Daro foresees intriguing possibilities for HDR color grading. “It opens up a different way to work,” he explains. “Say I’m doing a Barco HDR grade, and I notice the image is clipping out on an actress’s face. Instead of bringing down the entire picture, I could bring down just a hot spot in the background to shift more range to the actress. It allows you to pull and push light where you want it.”

    He cautions, however, that adding Barco HDR to a film mastering workflow means more than a simple trim pass. “To get all that you can out of that projector, it has to be a regrade,” he observes. “That adds time to the grade, which may get pushback from those who control the purse strings. Hopefully HDR theatrical versions will take over, and the 48nit pass will become the trim.”

    Budget considerations notwithstanding, Smith says most of the colorists in attendance agreed that HDR projection comes with a “wow” factor. “If you have a chance to see a demo, you should definitely do it,” he insists. “It’s the coolest thing I’ve seen in a while. I want to see more and hope we can host an event like this again.”

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