Post-production facilities group Technicolor has installed a new FilmLight colour grading system at its premises in Hollywood. The Baselight X workstation is being used for both feature film and television drama projects in Ultra High Definition (UHD), with additional capability to service the growing demand for HDR.
TVLogic, a supplier of LCD and OLED High-Definition (HD) displays, has introduced a series of new 4K HDR and OLED reference monitors that address the growing demands of industry pros working with such new formats in broadcast, production, and post-production applications.
Today’s cameras can provide more dynamic range than ever before and video editors need to be sure their equipment protects that quality. In this Lightworks 14 tutorial, Steve Mullen shows editors how key production tools can monitor the dynamic range of captured video throughout the process.
Blackmagic Design has released DaVinci Resolve 14 with a slew of new features, notably the addition of Fairlight audio. At the 2017 NAB press conference CEO Grant Petty explained that “The problem we are trying to solve is audio for the film and television industry.” The company expects that incorporation of Fairlight
What are the impacts of High Dynamic Range on the Quality Control process? Given the confusion in the industry surrounding the different formats, the impact is greater than you’d think and still being worked through. The Broadcast Bridge took the advice of leading QC tools developers.
In the late ‘80s as Avid developed its Media Composer another team in the UK began the development of Lightworks. Both teams realized film could be scanned and transferred, albeit with heavy compression, to a hard disk much as film negatives were copied to workprints that were edited on a