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  • 14 November 2022 13:04 | Anonymous

    Colorist Society (CSI) today announces the launch of a Chapter in Poland. Led by veteran colorists Konrad Ziecina, CSI and Tomasz Frąszczak, CSI, the Chapter is open to professional colorists across Poland’s rapidly growing film, television and advertising industries. It plans to foster networking opportunities, host meetings and training sessions, and promote the craft of color grading both in Poland and internationally. The group also plans to host a Colorist Mixer.

    “Poland is one of the fastest growing production centers in the world with many world-class post-production facilities and experienced colorists,” says Colorist Society President Kevin Shaw. “In light of the amount of content being produced in Poland, it is very important to expand CSI’s presence there. Konrad and Tomasz have ambitious plans and we are thrilled by their efforts.”


    Visit the CSI Polish Chapter page.

    Ziecina and Frąszczak say the new chapter has received an enthusiastic response from their colleagues. “Poland has long been recognized for excellence in cinematography. We want the world to know that we also practice color grading at the highest level.” Ziecina states. “We want to build a strong community and promote high standards.”

    Film and television production in Poland is booming, driven by a government incentive program that provides 30 percent rebates for certain production and post-production expenses. Netflix, which earlier this year expanded its regional headquarters in Warsaw, has produced several projects in the country, including The Woods, Sexify, Operation Hyacinth and Nobody Sleeps in the Woods. Netflix’s Polish production arm also recently produced the six-part drama High Water, which has drawn critical praise for its authentic depiction of disastrous floods in Silesia in 1997.

    Zięcina and Frąszczak say that Polish colorists are looking for new opportunities not only in Poland, but also internationally. “The advent of remote work is opening doors to the global film industry,” they observe. “We are very excited about the progress of technology and the opportunities it provides.”

    Ziecina is Founder and Senior Colorists of Rejbel Studio, Krakow. A three-time nominee for Best Colorist at the annual Colorist Awards, he has graded numerous features, documentaries, television series, commercials and music videos, with recent credits including the films Gamodi, Swell and The Devil.

    Frąszczak is Senior Colorist at Warsaw facility GDP Film Studio where his recent credits include the Discovery Channel series Polish Truckers and Górnicy PL.

    Other founding members of the Polish Chapter include Tomasz Czech, Oskar Pospolitak, Piotr Putko and Jakub Matras.


  • 10 November 2022 12:00 | Anonymous

    In May, the Australian Cinematographers Society and the Colorist Society’s Australia/New Zealand Chapter co-hosted a two-day event focused on HDR Held at the ACS headquarters in North Sydney, “HDR: Shoot to Screen Weekend” featured a series of insightful panel discussions and technical presentations on best practices for working in HDR throughout the production cycle.


    The event brought together a varied line up of talented speakers including representatives from monitor manufacturer EIZO, workflow specialist the Rebel Fleet and technology supplier Mojo Media Solutions. Ben Allan, ASC/CSI; Warren Eagles, CSI; Marcus Smith, CSI; Stuart Pointon and Adam Eden, CSI discussed the varying ways HDR impacts cinematographers and colorists. Andrew Smith, Senior Post Production Representative from Amazon Studios, talked about the streaming service’s requirements for HDR delivery.


    Other sessions covered HDR applications for creating film effects, measuring NITs on set and producing ‘Show’ LUTs. Yanni Kronenberg won the quiz, picking up Dolby Vision training as his prize. Several other attendees won training sessions from FXPHD for Resolve and HDR. Sponsors included Amazon Prime Video, the Rebel Fleet, EIZO, Blue Post, Mojo Media Solutions and fxphd.

    You can view videos from the event on the Australia and New Zealand Chapter page.


  • 09 November 2022 14:01 | Anonymous

    Colorist Society (CSI) will co-host a meet-and-greet event on Monday, 14 November at EnergaCAMERAIMAGE. Co-hosted by Dolby Laboratories and Warsaw post-production facility Black Photon, the event is open to colorists, their guests and all others. CSI and its co-hosts will share their experience of ACES and Dolby Vision, as well as the latest monitors and cameras.


    Admission is free, but tickets are required. The event will include an open bar.

    What: CSI at Camerimage: HDR Workflows from Cinematographer to Colorist

    Where: Restauracja Nova 22 - 4 Strony Świata 22 Żeglarska 87-100 Toruń Poland

    When: Mon, 14 November 2022, 18:00 – 22:00 CET

    Cost: Free but registration is required

    Register:  https://www.eventbrite.co.uk/e/csi-at-camerimage-hdr-workflows-from-cinematographer-to-colorist-tickets-464943407247?lang=en-gb&locale=en_GB&status=30&view=listing

    The 30th EnergaCAMERAIMAGE will be held 12-19 November in Toruń, Poland. Winners of the 2022 Filmlight Colour Awards will be announced on the eve of the festival, 11 November.


  • 08 November 2022 11:11 | Anonymous

    In a case study published by TVB Europe, Eric Whipp CSI discusses his work on George Miller’s film Three Thousand Years of Longing. Based at Alter Ego, Toronto, Whipp spent months collaborating with Miller and Cinematographer Jon Seale in developing the unique look of the fantasy drama. Whipp who grades on Filmlight’s Baselight has worked with Miller and Seale on several previous films including Mad Max: Fury Road, which brought Seale and Oscar nomination.


    You can read the full story here.


  • 26 August 2022 11:49 | Anonymous

    Scores of colorists, cinematographers and other industry professionals turned out in late May for two-day event focused on HDR, co-hosted by Colorist Society’s Australia/New Zealand Chapter and the Australian Cinematographers Society. Held at ACS headquarters in North Sydney, “HDR: Shoot to Screen Weekend” featured a series of insightful panel discussions and technical presentations on best practices for working in HDR throughout the production cycle.


    Presenters included representatives from monitor manufacturer EIZO, workflow specialist the Rebel Fleet and technology supplier Mojo Media Solutions. Ben Allan, ASC/CSI; Warren Eagles, CSI; Marcus Smith, CSI; and Adam Eden, CSI discussed the varying ways HDR impacts cinematographers and colorists. Andrew Smith, Senior Post Production Representative from Amazon Studios, talked about the streaming service’s requirements for HDR delivery.

    Other sessions covered HDR applications for creating film effects, measuring brightness and producing LUTs. Yanni Kronenberg won the quiz, picking up Dolby Vision training as his prize. Several other attendees won training sessions for Resolve and HDR. “It was a fantastic weekend,” says Eagles. “We had great numbers, excellent questions and wonderful interactions with friends and colleagues. Ben Allan and I were stoked with the whole weekend!”


    Sponsors include Amazon Prime Video, the Rebel Fleet, EIZO, Blue Post, Mojo Media Solutions and fxphd. Videos of the sessions will be made available in coming months.


  • 12 August 2022 09:49 | Anonymous

    If you haven’t joined Colorist Society’s Facebook Page and other social platforms, you are missing an opportunity to network with other colorists, see great work from around the world, and keep up with the latest industry developments.

    Colorist Society began growing its social presence last year. Our Facebook Page now has more than 3,000 followers while our Instagram account has over 80,000 followers. Each features daily posts, and stimulates considerable engagement from colorists and other industry professionals. CSI is also active on Twitter and LinkedIn.


    Bobola Oniwura, an independent colorist who manages CSI’s social campaign, says its purpose is to celebrate the craft of color in all its forms. “We post work in film, television, advertising and music videos,” he notes. “Posts come from all over the world, but our social pages are not blogs. We don’t accept submissions. Rather we review work colorists post to their personal pages and share the best. It’s a big platform where you can see a lot of color styles and palettes and draw inspiration for your own projects.”

    Our social pages have become gathering spots for colorists to meet, ask questions and extend their professional network. “I am often contacted by colorists looking for ways to learn new skills,” Oniwura says. “I point them to iColorist and other training sites. I also get messages from filmmakers and producers looking for colorists to grade their projects.”


    A Nigerian citizen, Oniwura is currently living in Missouri while his wife pursues a MBA degree at Washington University in St. Louis. Working remotely, he remains busy with commercial, music video and long-form projects. “I get work from Nigeria and from people who contact me through my website,” he explains. “Geography is not a barrier. I connect with clients everywhere.”


    Oniwura sees great potential for further leveraging social tools on to benefit CSI members. He would like to see online training opportunities expanded. He is also keen to produce an interview series with colorists discussing their careers. “I find it interesting to learn how people traveled down this road,” he says. “I studied architecture, but now I’m color grading. I went from architecture to advertising and digital marketing. At an advertising agency, I met a production and post-production team and that sparked my interest in color. I want to understand how other colorists got their starts. The journey is very important.”

  • 01 June 2022 10:41 | Anonymous

    Scores of colorists, cinematographers and other industry professionals turned out in late May for two-day event focused on HDR, co-hosted by the Australian Cinematographer’s Society and the Colorist Society’s Australia/New Zealand Chapter. Held at ACS headquarters in North Sydney, “HDR: Shoot to Screen Weekend” featured a series of insightful panel discussions and technical presentations on best practices for working in HDR throughout the production cycle.

    Presenters included representatives from monitor manufacturer EIZO, workflow specialist the Rebel Fleet and technology supplier Mojo Media Solutions. Ben Allan, ASC/CSI; Warren Eagles, CSI; Marcus Smith, CSI; and Adam Eden, CSI discussed the varying ways HDR impacts cinematographers and colorists. Andrew Smith, Senior Post Production Representative from Amazon Studios, talked about the streaming service’s requirements for HDR delivery.

    Other sessions covered HDR applications for creating film effects, measuring brightness and producing LUTs. Yanni Kronenberg won the quiz, picking up Dolby Vision training as his prize. Several other attendees won training sessions for Resolve and HDR.

    “It was a fantastic weekend,” says Eagles. “We had great numbers, excellent questions and wonderful interactions with friends and colleagues. Ben Allan and I were stoked with the whole weekend!”

    Sponsors include Amazon Prime Video, the Rebel Fleet, EIZO, Blue Post, Mojo Media Solutions and fxphd. Videos of the sessions will be made available in coming months.

  • 19 May 2022 12:50 | Anonymous

    The Colorist Society and iColorist are hosting an in-person mixer on 7 July at the White Horse Pub in London. Please join us at this iconic Victorian drinking establishment. See old friends. Expand your network. The event is free, but space is limited so register today.


    What: Colorist Society (CSI) and iColorist Mixer

    Where: The White Horse, 16 Newburgh Street, London W1F 7RY

    When: 7 July 2022 6:00 pm – 10:00 pm

    Register: https://www.eventbrite.com.au/e/soho-colorist-mixer-tickets-344610839297


  • 26 April 2022 09:45 | Anonymous

    Just in time for NAB Show, the Colorist Society’s popular Virtual Colorist Mixer is coming back. For those unable to be in Las Vegas (and those who will), the Mixer is an unprecedented opportunity learn about the latest color grading technology, learn new techniques from industry experts, win fabulous prizes and hang out with friends and colleagues around the globe. The Virtual Colorist Mixer will be held this weekend, April 30th, beginning with an informal chat hour at 9:00 a.m. Vegas time (PDT – UTC-7), followed by sessions from 10am-4pm.

    Expert presenters will cover color grading techniques, industry careers, monitor displays, show looks, technology and news from the NAB show floor. The event will also include The Big Interview, a conversation between industry titans Sheri Eisenberg and Doug Delaney, and climax with The Big Quiz and a Mixing Hour, a chance to socialize in breakout rooms. Tickets cost just $10. Show sponsors include Dell, Dolby, EIZO, Film Convert, fxphd, LG, Lowepost, Maxon, and Ravengrade.

    Colorist Society held the first Colorist Mixer in 2013 for professionals around the world connected to the color grading industry. It provided a unique opportunity to meet, network and discuss work in a relaxed environment. Colorists were able to catch up with old friends and meet new ones. It was also a chance for direct communication between manufacturers and users.


    When the pandemic made it impossible for CSI to host its annual in-person Mixer in 2020, the organization staged its first virtual event that December. It proved such a huge success that CSI followed it with four more Virtual Mixers in 2021.

    “While COVID-19 means we still must meet virtually, this format offers great advantages,” says CSI president Kevin Shaw. “The lack of travel or hotel expenses or limitations on space means the Mixer is now available to everybody.”


    Tickets are still available, although places are limited: https://www.eventbrite.com.au/e/virtually-vegas-colorist-mixer-22-by-csi-icolorist-ica-tickets-319538978687

      

    Schedule:

    • WARM UP HOUR: Socialising, Best Color Cocktail Challenge
    • FAST TIPS & TRICKS: Blake Jones, Warren Eagles, Kevin Shaw, Maximus Raharjo, Jeff Greenberg, Juan Cabrera. Sponsored by Maxon.
    • TECHNOLOGY OF TOMORROW: Sponsored by Dell. 
    • COOL SHOW LOOKS: Lynette Duensing, Dado Valentic. Sponsored by Dolby.
    • THE FUTURE OF COLORISTS: Colorist Society Hollywood. Sponsored by Lowepost and Ravengrade.
    • MIXING HOUR: Socialising, breakout rooms (including Spanish-language rooms), Best Color Cocktail Challenge. Sponsored by Adobe.
    • WHAT MONITOR SHOULD I BUY? Zeb Chadfield, Gino Amadori, Warren Eagles and Kevin Shaw. Sponsored by LG.
    • NAB REPORT: Darren Mostyn, Diego Yhama and Jeff Greenberg. Sponsored by EIZO
    • THE BIG INTERVIEW: Sheri Eisenberg and Doug Delaney. Sponsored by FilmConvert.
    • THE BIG QUIZ. Win big prizes. Sponsored by fxphd.
    • MIXING HOUR: Socialising, breakout rooms (including Spanish-language rooms)

    +   4b.   NOVEDADES DE LA NAB (en español): Diego Yhama, Javier Guevara, Esther Rivas


    Colorist Mixer is a Colorist Society International (CSI) event. CSI is primarily funding this event, with support from sponsors. CSI is a not-for-profit organization set up for the benefit of the colorist community. Membership is open to professional colorists, editor/colorists, DITs, telecine operators, color timers, finishers, restoration artists, and color scientists. Find out more at ColoristSociety.com .

    PLEASE NOTE: this event will be recorded. By joining you are consenting to be recorded.

    Contact us: For all Colorist Mixer-related inquiries, please contact media@icolorist.com

    SEE TALKS FROM DEC 20 MIXER >

    SEE TALKS FROM APR 21 MIXER >

    SEE TALKS FROM JUL 21 MIXER >

    SEE TALKS FROM DEC 21 MIXER >


  • 25 January 2022 14:06 | Anonymous

    Oliver Ojeil, CSI successfully petitioned to be included in the opening title credits for the new thriller “Shut In” in what he hopes will become standard industry practice.

    “Give credit where credit is due,” seems like a simple proposition, but for colorists, it’s often been an elusive goal. When it comes to credit sequences for feature films and television shows, colorists often find their names listed far down in the end crawl or maybe not included at all.


    Considering that their work impacts every frame that appears on the screen, many colorists think that’s unfair. Colorists typically spend years, if not decades, honing their craft, and work long hours with directors and cinematographers to polish the look of their projects and help tell their stories. Securing proper credit for their work is not simply a matter of personal vanity, it’s crucial to networking, career advancement and compensation.

    Los Angeles-based colorist Oliver Ojeil, CSI insists that conventions governing credits must change. He notes that formal and informal rules for who gets credited—and how—were often established long in the past when production and post-production roles were vastly different. He believes that colorists ought to be recognized for what they are--essential members of the creative team. A longtime member of the Colorist Society, Ojeil joined the organization, in part, due to its commitment to gaining greater recognition for colorists, including through on-screen credits.

    Ojeil has adopted the practice of insisting on appropriate on-screen credit, with his Colorist Society affiliation, for his film and television projects. He recently scored a victory when his name was included in the main credits for the new thriller Shut In, directed by D.J. Caruso (xXx: The Return Of Xander Cage, Disturbia). He began working on Shut In during pre-production, providing production LUTs for cinematographer Akis Konstantakopoulos. He later worked closely with Konstantakopoulus not only to polish the look of the film, but also to intensify its atmosphere of claustrophobic terror.

    Ojeil says that his credit request needed approval from the DGA and that the initial request was rejected. “We had to write back explaining why the colorist should be included because it would set a precedent,” he recalls. “Amanda Presmyk, the film’s producer, was extremely supportive. She went back and forth with the DGA and eventually got it approved.”


    Ojeil expects to receive a similar credit on his current project, Model House, and hopes that prominent credit for colorists will eventually become standard industry practice. “I’ve been doing more narrative and episodic work over the past four years and have come to feel strongly that colorists don’t receive enough recognition for the work they do,” he says. “I don’t want to take away from the impact others have on a movie, but colorists deserve to be up there with others who are commonly included in main titles.”


    Shut In is slated to premiere soon on The Daily Wire, the first feature to appear on the new streaming service. The film stars Rainey Qualley and Vincent Gallo in the story of a single mother and her two children held captive by her violent ex-husband.

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