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Post-production is increasingly a collaborative process, with project files shared among different departments to be worked on simultaneously. This is primarily within the same networked building or possibly between adjacent premises, but the posting of the current Nissan Rogue commercial has taken the concept further - literally - with the exchange of colour grading files over a distance of 3400km in Canada.
Broken is a six-part TV drama series, created by screenwriter Jimmy McGovern that first broadcast on BBC One. In this special interview, Patrick Hall, Head of Post at Liverpool producer LA Productions explains the main post workflow.
Blackmagic have been on a bit of a roll lately with the announcement of a public beta for DaVinci Resolve 14 and two new small colour grading control panels. I incorporated the Micro panel aimed at indie professionals into my own workflow to see what all the excitement was about. First things first – as soon as I took my new Micro Panel out of its box, my initial thought was: wow, this thing is bullet proof. Of course, I was hoping as much. As a professional freelancer by trade, I’ve used Blackmagic Design’s large Advanced Panel to colour grade at several client facilities in the past, so when they came out with two new smaller, far cheaper panels earlier this year – the Mini Panel and the Micro Panel – I was excited about what I could expect in terms of Blackmagic build quality. I was also excited by the fact that unlike the larger Mini and the Advanced panel, the new Micro panel seemed to be quite obviously aimed at someone exactly like me. When it was first announced, Blackmagic emphasized the fact that it was portable, and on their website even mentioned how easy it would be to fit next to a keyboard for simultaneous editing and color grading work. My only question was, how did that translate into a real-life professional pipeline? I decided to use the Micro on freelance projects over the course of several weeks to find out.
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.