Attending IBC 2024? Be sure to connect with our wonderful sponsors:

Colorfront

Colorfront will showcase their latest technology at the Okura Hotel.  Live demonstrations will feature Colorfront Transkoder's powerful capabilities directly from the cloud, highlighting the seamless handling of RAW camera footage, IMF, and DCP packages as they are de-bayered, processed, and streamed in ultra-low latency UHD HDR, all via the public internet.

Contact Laura Castelli (laura@nachomf.com)  for a chance to see their latest technology in action! 

Louper

Remote Color Grading, Live Reviews & Watch Parties. The cost-effective solution for streaming, monitoring, and collaboration. Discover why Louper is endorsed by professional colorists and post-production supervisors worldwide.

A Special Offer for Color Society & iColorist: Take 50% off any Louper Plan! 

Visit Louper.io, sign up for a free account and use coupon code: IBC2024

• Offer valid for Louper Plus, Pro, or Team tier upgrades. 
• Offer valid for first time customers only. 
• Expires September 30, 2024

Learn More

Please use the same URL for the image: https://bit.ly/3MeV5bY

FSI

Visit FSI at IBC, Hall 10, Stand F28. You’ll find our complete lineup of professional monitors on display including our 31.5”, 55”, and 65” QD-OLED UHD HDR reference monitors and our affordable, but feature-packed, lineup of HD-SDR displays. We’ll be showcasing these latest products as well as several powerful new features for these displays.

ASUS ProArt

ASUS ProArt invites all industry professionals to visit our booth (Hall 2 #A29) and experience our next-generation innovations, including the ProArt Display PA32KCX, the world’s first 8K HDR Mini LED professional monitor; the ProArt Display OLED PA32UCDM, featuring 4K QD-OLED technology for creators; and the ProArt Display PA27JCV, a stunning 5K monitor. Additionally, join us for ProArt Masters’ Talks, where we’ll feature insights from industry-leading experts from renowned companies such as NVIDIA®, Scan Computers and more. We look forward to showcasing our cutting-edge products and engaging discussions with you

Learn more

Tracking link: https://asus.click/IBCMIXER

BLACKMAGIC DESIGN

Whether you’re just getting started or are a professional colorist, DaVinci Resolve color control panels let you work faster and be more creative. The panels give you fluid, hands-on control over multiple parameters at the same time, so you have more creative options and can work much faster than is possible with a mouse.

Designed in collaboration with the world’s leading colorists, all panels feature a logical layout that puts the most important controls under your natural hand positions, which allows you to work quickly. All knobs, dials and buttons are high quality and have been custom designed to produce the perfect amount of resistance, so you can accurately fine tune any parameter.

url link: https://www.blackmagicdesign.com/nl/products/davinciresolve/panels 

Sony

Visit Sony in Hall 13 at IBC to discover our latest professional monitors, the BVM-HX3110 and BVM-HX310. See these cutting-edge displays in action and talk to our experts about how they can enhance your projects.  

Tracking link: https://pro.sony/en_GB/events/ibc

Pixelview.io - Back to Work Streaming Kit

As we settle into new work patterns, stay ahead with our Pixelview Streaming Kit. Perfect for colorists collaborating remotely with clients.

Our Back to Work bundle includes:

• 6-month Pixelview.io subscription
• SDI hardware encoder
• All for just $1,199 USD
• You save $510 USD

Enjoy clearer communication and real-time feedback, enhancing your remote coloring workflow.

See it in action at IBC! Visit our booth for a live demo.

Get your kit

Tracking link

https://www.pixelview.io/product?ss_source=googads&ss_campaign_name=colorist-mixer

Colorist Society is very excited to announce the launch of a Chapter in China. Chapter officers include Colorist Ming Gao, CSI (The Wandering Earth, Shang-Chi and the Legend of the Ten Rings) and Zoe Chang (Til Death Do Us Part). The Chapter will receive support from Zunzheng Digital Video, partner of Colorist Society sponsor Flanders Scientific.

Based in the Peoples Republic of China, the Chapter is open to Mandarin speakers throughout East Asia. A China/Mandarin Chapter page, currently under development, will feature Mandarin language features about Colorist Society, information about locally sponsored events, and showreels from chapter members. The Chapter will also have a WeChat group.

Kevin Shaw teaches prospective colorists in China.

“We are thrilled to introduce Colorist Society to China,” says CSI president Kevin Shaw, who recently hosted several training sessions for aspiring colorists in China. “Colorist Society can make its biggest impact at the local level. The China Chapter will support the development of a strong community of colorists through networking opportunities, educational events, awards sponsorships and other activities. We also look forward to forging ties with CNSC, Chinese SMPTE and other industry organizations.”

Next session scheduled for September 21 in Köln.

Pioneering color scientist and Colorist Society Fellow Dr. Charles Poynton and colorist Laurens Orij from Crabsalad, Amsterdam are conducting a series of professional workshops on color science at sites across Europe and North America. The next session is slated for Saturday, September 21 in Köln, Germany. Register here. Future events are planned for Toronto, Warsaw and Rome. Discounts are available to CSI members, but space is limited.

Titled Applied Colour Science for Film Production, the workshop covers both deep fundamentals and important current topics in color science for film. “By ‘film,’ we mean both photochemical film and digital film,” Poynton explains. “Classic photochemical film is enjoying a resurgence, and in any event, the color processes of film have set the cultural expectations of what a movie looks like. By ‘movie’ we include theatrical motion pictures, but also streaming programming where a cinematic look is desired.”

Poynton and Orij will explain in detail camera technology and camera image coding. They will describe the pipeline of post-production and mastering, including scene rendering transform, and show how and where art is introduced using illustrative examples. The radiometric (linear-light) internals of modern grading systems such as Baselight and DaVinci Resolve will be explained.

The focus is also on the color pipeline. Key aspects will be discussed: acquisition color space, grading space, and various mastering and distribution spaces, particularly the DCI X’Y’Z’ scheme with its standard DCI P3 primaries, and commercial HDR distribution schemes including HDR10, HLG, and ICtCp-based Dolby Vision.

The two presenters explain why BT.2020 primaries are not directly suitable for mastering or presentation. They will also introduce emerging modern post-production systems such as ACES 2.0 and OpenColorIO 2.0, and present recent developments in Color appearance models (CAMs).

Laurens Orij is an accomplished colourist based at Crabsalad in Amsterdam: “MONOS” (Sundance World Cinema Special Jury Award winner), “Close” (Oscar-nominated and Cannes Grand Prix winner 2023), and “All We Imagine as Light” (Cannes Grand Prize Winner 2024).

Charles Poynton is an independent researcher and Color scientist based in Toronto. He wrote the book “Digital Video and HD Algorithms and Interfaces,” now in its second edition. He earned his PhD in 2018 with a dissertation entitled “Color Appearance Issues in Digital Video, HD/UHD, and D-cinema.”  

FilmLight is inviting Colorist Society members to a private event featuring Eric Whipp’s work on the color grading of Furiosa: A Mad Max Saga. The event is slated for on August 19 at the Dolby Cinema Vine Theatre in Hollywood.

The event will begin with light refreshments and networking, followed by an in-depth presentation on the look development, VFX, color workflow across cities, and Dolby Vision HDR delivery of the fifth installment in the Mad Max series and including a Q&A session.

It is an unique opportunity to explore the artistry and collaborative work behind one of the year’s most visually striking films – demonstrated live on Baselight.

The event is free. Register here.

When: Monday 19 August, doors open at 6pm, presentation 7pm

Dolby Cinema Vine Theatre

6321 Hollywood Blvd, Los Angeles, CA 90028

HDR Vivid is a relative newcomer to the field of HDR technology. Like HDR10+ and Dolby Vision, HDR Vivid sets specifications for dynamic HDR metadata to achieve accurate tone mapping approved by the colorist. Developed in China, there are more than 40,000 hours of HDR Vivid content streaming in China. HDR Vivid has been broadly adopted by Chinese OEM manufacturers and OTT operators. It’s important to be aware of this option, particularly if you are a colorist mastering media for the Chinese market.

“HDR Vivid is based on ST.2084 and comparable to other HDR standards in terms of depth and brightness. Its advantage is that it supports a wider range of output deliverables,” says Tracy Tsui of the UHD World Association (The UWA), an association of enterprises, scientific research institutes, and professional institutions in UHD product manufacturing, video transmission, content production, application and service working to promote HDR Vivid—and a new CSI sponsor. “It is also a fully open standard. Manufacturers can incorporate HDR Vivid into their products without royalty fees for HDR Vivid 1.0.”

For colorists, producing deliverables in HDR Vivid is easy as the trim tools are already supported, and it’s included as an output option in DaVinci Resolve and Baselight. To promote greater awareness of the standard, The UWA is looking to partner with post houses in the US, Europe and elsewhere in hosting demonstration events. It is also developing a certification program for post houses and individuals to signify their expertise in delivering HDR Vivid content.

“HDR Vivid is a good option for colorists and post houses,” says Tsui. “Ultimately, we believe that HDR Vivid has the potential to become a global standard. It is easy for colorists and post houses to incorporate into their workflows, it’s a low cost alternative for OEMs and operators, and it benefits consumers with great content and experience.”

Colorist Society Hollywood is hosting an event in tandem with Barco on its Light Steering Technology for HDR projection. Slated for August 6 from 6:30 pm to 10:00 pm at Barco’s demo facility in Hollywood, the event is free and open to all Colorist Society members.

BARCO’s Joachim Zell, Iris Wu and Anders Ballestad will demonstrate the new technology, which promises to radically improve the picture quality of films shown in theaters. Barco’s system includes a color grading plug in that integrates into DaVinci Resolve and FilmLight Baselight for optimized HDR color grading with full creative control. Colorists in attendance will have an opportunity to try the system for themselves.

Barco’s demo facility is located at Deluxe Studios (formerly Glen Glenn Sound) at 900 Seward St in Hollywood. Beer, wine, water and snacks will be provided.

Register here.

FilmLight has finalized the jury for the 2024 FilmLight Colour Awards and announced Australian film director, screenwriter and producer George Miller as guest of honor and award winning Australian cinematographer Mandy Walker as 2024 jury president.

George Miller, AO is known for direction the dystopian action-adventure Mad Max films as well as The Witches of Eastwick, Babe, Happy Feet and more. Mandy Walker, AM, ASC, ACS is known for work on Elvis, Mulan, Hidden Figures, Tracks, Australia and more.

FilmLight also welcomes the following international talent to complete this year’s highly prestigious jury:

Kaitlyn Battistelli, senior colorist and partner at ETHOS STUDIO in LA.

Greg Fisher, senior colorist at Company 3, London.

Jose Francisco Neto, senior colorist and founder of DOT in São Paulo.

Catherine Goldschmidt, award-winning cinematographer whose work includes the 12th Season of Doctor Who, the Emmy-nominated show Dummy, the BBC/Amazon series Chloe and HBO’s House of the Dragon.

Birgit Gudjonsdottir, award-winning Icelandic cinematographer with an extensive career in commercials, documentaries and feature films, including Goodbye Lenin! And The Bourne Supremacy.

Jax Harney, founder and senior colorist at X-LDN in London.

Yong Hou, acclaimed Chinese cinematographer, director, professor at the Shanghai Theatre Academy, doctoral supervisor and president of the Chinese Society of Cinematographers.

Tim Kuhn, BVK. award-winning German cinematographer, known for his work on series like Breaking Even (2020) and Amazon series Luden (2023).

Michael Liu, distinguished Chinese cinematographer whose portfolio includes including The Wandering Earth series.

Tim Masick, senior colorist at Company 3, New York.

Avik Mukhopadhayay, esteemed Indian cinematographer known for his work with directors like Mrinal Sen and Aparna Sen.

Marina Starke, Berlin-based senior colorist with a portfolio in feature films, series, commercials, and music videos.

Jason Zukowski, senior colorist at Fort York VFX in Toronto.

They join the previously announced jury members to complete this year’s jury: Ben Gervais – freelance technical producer; Mahak Gupta, senior colorist at Bridge PostWorks; Elodie Ichter, senior colorist at Light Iron; Natasha Leonnet, senior colorist, Picture Shop; Dirk Meier,  freelance colorist, lecturer and 2023 FilmLight Colour Awards winner; Erik Messerschmidt, ASC,  cinematographer; Yov Moor, senior freelance colorist; Robert Richardson, ASC, ACK, cinematographer; and Damien Vandercruyssen, senior colorist at Harbor.

The FilmLight Colour Awards are open to colorists on any grading platform and close for entry on 31 July. A shortlist will be announced in autumn and the winners unveiled at EnergaCAMERIMAGE in November.

For more information, please visit: www.filmlightcolourawards.com/

Good news for IMDbPro users. You can now include your CSI membership in your IMDbPro profile. Simply navigate to your IMDbPro name page, select the About tab, and navigate to Performer Profile. Click Edit and navigate to Professional Affiliations. Select Colorist Society within the dropdown.

As a member of CSI, you are eligible to receive a 25% discount off an IMDbPro Premium subscription, which offers full access to features for entertainment professionals to highlight their affiliations. Access the discount code by logging into your member website. This offer is limited to CSI members only and is non-transferable. Enter your code HERE to apply the discount to both monthly and annual memberships.

Award-winning cinematographers Mandy Walker, Robert Richardson and Erik Messerschmidt amongst talented worldwide jury

FilmLight has announced the first set of high-profile creatives lined up to judge the 2024 FilmLight Colour Awards, including cinematographers Mandy Walker, Robert Richardson and Erik Messerschmidt. The awards are presented annually at the international film festival EnergaCAMERIMAGE in November.

Following her participation in the 2023 ceremony panel discussion with Lawrence Sher, first to join this year’s jury is Australian cinematographer, Mandy Walker, AM, ASC, ACS. Walker is best known for her work on Elvis (2022), Mulan (2020), Hidden Figures (2016), Tracks (2013), Australia (2008), Shattered Glass (2003), Australian Rules (2002), Lantana (2001),The Well (1997) and Parklands (1996).

“I really appreciate the artistry of great colourists,” comments Walker. “They help the cinematographer enhance the storytelling with colour, contrast, light and darkness – creating atmosphere and focusing the audiences’ gaze to what’s important in the frame. I will be looking for consistency and colour that is not too ‘affected’, but seamlessly works with and not against the elements of the story.” 

Also joining this year’s jury is renowned American cinematographer, Robert Richardson, ASC, ACK. Richardson, who has won the Academy Award for Best Cinematography three times, for his work on Hugo (2011), The Aviator (2004) and JFK (1991), is a regular collaborator of Hollywood directors like Oliver Stone, Quentin Tarantino and Martin Scorsese and known for his use of high contrast lighting, shapeshifting style, dynamic camera movements and keen eye for detail.

“Judging the work of a colourist is complex, as there are many factors that play a part,” says Richardson. “For example, how early was the colourist involved? Did they create a LUT to use in camera or during post? What was their relationship with the director of photography? What is their history? With this in mind, the process of judging for me will be based on the information they provide about the project as well as how well the visuals support the story. I am excited to take part, as the colourist is pivotal to my work and I have immense respect for the creativity involved.”

Also joining this year’s jury is cinematographer Erik Messerschmidt, ASC, who recently had two feature films premiere at the 2023 Venice Film Festival – David Fincher's The Killer and Michael Mann's Ferrari. He also shot Fincher’s series Mindhunter(2017-2019) and feature film Mank (2020).

FilmLight is also delighted to welcome the following talented creatives to the 2024 jury:

Yov Moor – senior freelance colourist in France, whose work encompasses award-winning feature films, documentaries, art films and shorts. In 2024, Moor had four films at Cannes: Miguel Gomes’Grand Tour, Gilles Lellouche’s L ’Amour Ouf (Beating Hearts), Keff’s Locust and Wei Liang Chiang’s Mongrel.

Natasha Leonnet – senior colourist at Picture Shop based in LA and recipient of numerous prestigious accolades. Leonnet’s work includes Spider-Man: Across the Spider-Verse (2023), Billie Eilish: Happier Ever (2021), Candyman (2020), Mulan (2020), First Man (2018), Hidden Figures (2016) and Whiplash (2014).

Mahak Gupta – senior colourist at Bridge PostWorks in India and a 2022 FilmLight Colour Awards ‘Spotlight’ nominee for her work on Shoebox (2021). Gupta is also the co-founder of ‘The Colorists Workshop’ development program designed to support and recognise aspiring colourists in India.

Elodie Ichter – senior colourist at Light Iron in New York, who recently completed the grade on Hulu’s Shōgun (2024). Born and raised in France, Ichter’s career path took her to London and Los Angeles before New York where she worked with renowned directors such as Martin Scorsese, Quentin Tarantino, Chloé Zhao and Ben Affleck.

Damien Vandercruyssen – senior colourist at Harbor, based in New York. Damien's expertise in cinematography and colour science have earned him regular collaborations with highly regarded directors such as Sofia Coppola, the Safdie brothers and Trey Edward Shults, along with leading cinematographers Philippe Le Sourd, Drew Daniel and Darius Khondji. His work on Apple TV+'s Lisey's Story (2021) won him the ‘TV/episodic’ award at the 2021 FilmLight Colour Awards. 

Ben Gervais – technical producer in Canada. Gervais is a pioneer in high frame rate and 3D workflows and developed 120fps production, post, distribution, and projection technology for Ang Lee's Gemini Man (2019) and Billy Lynn’s Long Halftime Walk (2016).

Dirk Meier – freelance colourist and lecturer in Germany. Meier won the ‘Episodic’ award at the 2023 FilmLight Colour Awards for his work on season one of The Pimp: No F***ing Fairytale (OT: Luden). 

In 2024 colourists will be awarded across six categories: theatrical feature; television series/episodic; commercial; music video; Spotlight, which recognises colourists who have worked on a lower budget feature film or television movie; and, new for 2024, Emerging Talent, which celebrates the work of young colourists (age 18-35) in commercial and music video creation.

The remaining jury will be announced in the coming months with this year’s call for entries closing on 31 July. A shortlist will be announced in autumn and the winners unveiled at EnergaCAMERIMAGE in November. For more, visit: www.filmlightcolourawards.com.

A new sponsor of Colorist Society, Pixelview.io is a developer of a remote collaboration platform designed with colorists in mind. Along with innovative tools for sharing grading sessions, Pixelview offers the benefit of being super simple to use. Sessions are streamed via a proprietary encoder plugged into a reference monitor. Options for capture cards and software streaming are also available.

On the client side, it’s even easier. Stakeholders can join a session via a link or QR code. From there, the user experience is intuitive. Clients can view sessions through a web browser or app and communicate with the colorist through video or text chat. Other features include on-screen annotation, screen sharing and personalized branding. Better color accuracy can be achieved by a separate app. Sessions are encrypted to keep assets safe.

One more point: Pixelview is affordable. A plan supporting up to five concurrent viewers costs $175 per month.

Founder Max Stromberg began developing Pixelview during covid. A colorist himself, he was frustrated with the complexity and high cost of collaboration solutions. “Our aim is to eliminate technical challenges so that creative people can be creative,” he explains. “We make it easy to set up, log in and watch streams. Simplicity is our main selling point.”

Max and his team continue to develop Pixelview. They recently added a new, streamlined user interface. Currently, they are looking to upgrade security through TPN certification and improved watermarking and login protocols.

Citing the popularity of remote and hybrid work, Max says his user base is growing. “As covid waned, I thought things would go back to the way they were,” he observes. “But it hasn’t. People have gotten used to working remotely, and often prefer it because they can get more done.”