Cinema colorist

Download Baselight 5.0 student version

Avid vs. FCP vs. Premiere for editing likewise Davinci resolve vs Baselight vs assimilate scratch for color grading. Its your choice. Filmlight recently updated Baselight and sent 90 days trial license to use student version of Baselight.

Train to be a professional Baselight colourist with support from FilmLight


Baselight STUDENT is a comprehensive version of FilmLight’s Baselight colour grading software—with GPU rendering—that runs on any supported Mac platform.

The principle limitation is that the application is restricted to render out only h.264* movies or JPEG images. With no watermarking, this means that Baselight STUDENT can be used to create academic-year projects within the limitation of the delivery formats. Along with conform capability, colour space handling, format editing and the ability to render both image sequences and movie files, this also makes the application the ideal tool to learn how to start your career as a professional colourist assistant.

As Baselight STUDENT is specifically intended to help people learn how to work with Baselight professionally, the licence is limited to a 90-day training period; however this can be reviewed if necessary when your licence expires.

Key features

The student application is built from exactly the same software source as the full Baselight system. That means that it will always be up-to-date with the latest release. 
For a full list of Baselight functionality, please see the datasheets in the Document Library on our web site. Some of the highlights of Baselight STUDENT include:

  • Support for control surfaces including Slate (but not Blackboard).

  • Optional AJA SDI monitoring.

  • 4:2:0 Y’CbCr cache allowing playback on lower-end machines.

  • Rendering capability for h.264* movies or JPEG image sequences.

    Join Baselight student program.

Blackmagic design eGPU Pro - not yet finished product

BMD EGPU.jpeg

External Graphics Processing Unit” is an idea that has been around for years, and in the R&D departments of video card manufacturers for even longer. The general concept involves hooking up a regular laptop to an external graphics card through a single cable, which can then take all of the load off your laptop’s internal GPU and put it on the more powerful extension instead.

Blackmagic Design has announced the new eGPU Pro, a Thunderbolt 3 equipped external GPU powered by a Radeon RX Vega 56 graphics processor. The original eGPU was only just released in July 2018 which uses the Radeon Pro 580 graphics card.

Will you buy Blackmagic design eGPU Pro?

In its current form: probably not (yet).

Being a Blackmagic Design product designed in collaboration with Apple, Davinci Resolve automatically recognises the eGPU and supports it, offering increased performance. But it is still an unfinished product.

Pros :
Sleek design• Super quiet • Pass-through charging for MacBooks with USB-C. Good gpu.

Cons :
Expensive • Non-replaceable graphics processor • Many apps aren't optimized for eGPU • Most apps don't support hot-plugging • eGPU support for macOS High Sierra and Mojave varies •

What’s missing in Blackmagic design egpu pro for digital cinema colorists?

We would like to see Decklink capture and playback cards built in with egpu pro.

decklink-4k-extreme-12g@2x.jpg

For more information about Blackmagic egpu pro.

Netflix color pipeline

NETFLIX Color Pipeline

Color Pipeline Requirements

It is important to ensure that images are stored in the widest possible color space until the very final stages of the color pipeline. This is easily achieved by using ACES, which keeps images in a high dynamic range, wide color gamut space, and allows the user to simply select the Output Transform for the target viewing display. This can also be achieved while working in the dominant camera color space with careful, pro-active color management and the use of conversion and viewing LUTs. Both methods are outlined below.

Color pipeline documentation must be shared with production and post-production ahead of the first day of photography. 

Non-ACES Pipelines (Camera Native + Show LUT)

  • Working Color Space ust be defined and communicated to all departments.
    • Examples: Sony SLog3-SGamut3.CINE, REDLogFilm-DragonColor, Panasonic V-Log-V-Gamut, CanonLog3-CinemaGamut
  • Output / Show LU must be defined and shared between all departments.

ACES Pipelines

  • ACES Versio (i.e. v1.0.2) should be defined and shared between all departments. 

On-Set & Dailies Colo

  • CDLs only
    • No secondaries, keys, or power windows to ensure compatibility in post.
  • Order of operations is critical
    • CDLs must be applied before Output Transform.
    • See diagram below.
  • On-set and dailies monitors must be calibrated to the Rec.709 / BT.1886 standard, or equivalent HDR standard (i.e. PQ / SMPTE ST.2084)
Color_Pipeline_v2.1_onset.png
Color_Pipeline_v2.1_SDR.png
Color_Pipeline_v2.1_HDR.png

Color Grading for Netflix

Color Grading: Dolby Vision / HDR

Netflix Originals are mastered, packaged, and delivered in the Dolby Vision format. From this package, we derive Dolby Vision, HDR10, and SDR streams for Netflix customers to enjoy.

netflix-dolby-vision-d01.jpg

Color grading suite requirement

  • Professional HDR monitor (Dolby-Vision certified, >1000 cd/m2)

    • Sony BVM-X300 (30 inch, 4K)

    • Dolby Pulsar (42 inch, HD)

    • Canon DV-2420 (24 inch, 4K)

    • Other HDR reference monitors as certified by Dolby for Dolby Vision HDR grading
  • Professional SDR monitor

    • Rec.709, BT.1886 / Gamma 2.4, 100 cd/m2

  • Color grading software with Dolby Vision support

    • Filmlight Baselight

    • DaVinci Resolve

    • Nucoda FilmMaster

    • Autodesk Lustre

    • Quantel Rio
  • Content Mapping Unit (CMU) System (per Dolby specification)

  • Dolby Vision License

    • Activates CMU and color grading plug-in

  • Dolby Vision Training

What to deliver for netflix?

Dolby Vision VDM (Video Display Master)

  • 16-bit TIFF frame sequence

    • Color Space: P3 D65, PQ (ST.2084), full-range

  • Dolby Vision XML file containing accurate metadata*


* Please ensure that all XML metadata is accurate, including Color Encoding, Mastering Display, and Aspect Ratio. Please use Dolby's metafier validation to ensure that there are no errors in the metadata.

Davinci Display for external monitor without using extra hardware

Davinci DIsplay

DaVinci Display is a virtual display for DaVinci Resolve. The main purpose of the application is to mirror the preview and allow to place it anywhere in your desktop. It enables you to have a picture preview in the external monitor without using extra hardware like Decklink or Unltrastudio.

How much does it cost?
US$ 25.00

Click HERE to download free trial:
 

Davinci Resolve Free Tutorial - Goat Eye View

Best Davinci Resolve Tutorial

If you are aspiring editor or colorist and looking for great resource to learn Davinci Resolve Software then we highly recommend Goat Eye View - Davinci Resolve tutorials.

Goat's Eye View, London-based post-production for film and television has produced a series of Davinci Resolve color grading tutorials by Daria Fissoun.
For more info - www.goatseyeview.co.uk

 

Best lut for vlogs - DSLR

Click on image to download the luts.

Click on image to download the luts.

These luts for vlogger are perfect to make your footage more cinematic.

This LUT pack will be some base luts to get you a finished look or to a good starting point. It works with  Adobe Premiere Pro CC, Final Cut XDavinci Resolve and Assimilate Scratch.

Disclaimer

  • We have designed a creative lut.
  • It is calibrated for properly exposed and white balanced image in standard camera settings.
  • You will have to manually adjust temperature, tint and exposure if encountered unexpected results.
  • For any DSLR clips shot in Neutral picture settings.
  • Developed using 3dlutcreator.

Shooting and Grading STEEL SCULPTURES

STEEL HAS TO LOOK STEEL

Shot on Red’s Scarlet camera, we encountered a number of unique challenges from a dop point of view.  We had to use limited lighting due to 360 degree reflection from the steel sculptures.  

DOP & COLORIST - SUDIP SHRESTHA
PIXELHOUSE PRODUCTION

Before and After grading 

COLOR GRADING MOMENT TV SHOW SEASON 2 - FIRST OF ITS KIND IN ARAB WORLD

The moment is the first of its kind on the Arabic screen in terms of content and image.

About Moment TV Show - Season 2

The 15 minute tv show aims to address the ignorance of knowledge, by informing viewers about the latest scientific and technological advancements, simplifying them and explaining complex concepts in an entertaining and creative way. 

The program targets all age groups and seeks to explore the future through the huge practical discoveries made by scientists and inventors in different countries of the world.

Program presented by Yasser Hareb

Program presented by Yasser Hareb

Watch Moment Season 1 if you have missed

MOMENT TV SHOW SEASON 2
DIRECTOR - AREF HAREB
PRESENTER - YASSER HAREB
DOP - VOLODYMYR USYK
SHOT - RED DIGITAL CINEMA
COLORIST - SUDIP SHRESTHA
30 EPISODES - 

TIME TO PRAY - COLOR GRADING IN PIXEL HOUSE

Short film "TIME TO PRAY" - Color grading in Pixelhouse Production, Dubai, UAE

Short film "TIME TO PRAY" - Color grading in Pixelhouse Production, Dubai, UAE

Shot in Canon 5D Mark 3

Director of Photography - Sara Munif
Colorist - Sudip Shrestha - www.pixelhouse.ae
Editor - Dania Mousa
Producer -Al Hanoof Al Jasmi
Director - Ahmed Al Kuwaiti

Grading SAMA in Davinci Resolve 14

Short film "SAMA" graded in Davinci Resolve 14 Beta.

Short film "SAMA" graded in Davinci Resolve 14 Beta.

Shot in - Canon 5d mark 3 and Sony A7s Slog2.

Director of Photography - Peter Moussa
Colorist - Sudip Shrestha - www.pixelhouse.ae
Editor - Peter Moussa, Hind Anabtawi
Producer - Taline al Rasheed
Director - Hind Anabtawi

Color Grading Monitor in budget - HP Z31x DreamColor Studio Display

HP Z31X Dreamcolor Studio Display - US $3999.00

HP Z31X Dreamcolor Studio Display - US $3999.00

HP has now unveiled its latest additions to the DreamColor lineup, targeted at the professional colorist and editors.

The DreamColor Z31x features support for multiple working color spaces, and the display's color gamut covers 100% of sRGB, 100% of Adobe RGB, 99% of DCI-P3, and 80% of BT.2020. It can also handle multiple frame rates, including native support of 60 Hz, 50 Hz, and 48 Hz (which would be exactly double the 24fps frame rate of film).

The HP Z31x is designed with the features demanded by industry-leading digital creators: an integrated KVM (keyboard/video/mouse) switch, True 2K viewing, markers and masks, and much more. The built-in KVM of the HP Z31x can switch between two computers with a quick keyboard shortcut, allowing the user to share one display, keyboard and mouse between two computers. Many artists have two computers, a Linux® box with their animation/compositing app and a Windows® box with Adobe® Photoshop or internet access.

 

 

DAVINCI RESOLVE 14 - THE NEW JACK OF POST-PRODUCTION

What's New!

DaVinci Resolve 14 has hundreds of new features for editors, colorists and now, for the first time, audio professionals. The new playback engine dramatically increases responsiveness with up to 10x better performance for editors. You also get a whole new page with the full Fairlight audio post production tools that let you record, edit, mix, sweeten and master sound with full 3D audio space and up to 1000 channels. Colorists will find amazing new filters that include automatic facial recognition and tracking for quickly smoothing skin tones, brightening eyes, changing lip color and more! Plus, DaVinci Resolve 14 features revolutionary new multi user collaboration tools such as bin locking, chat and timeline merging that allow editors, colorists, and sound editors to all work on the same project at the same time! All these new features make DaVinci Resolve 14 is the world’s most advanced post production software!

DaVinci Resolve includes virtually every imaginable editing and trimming tool available, making it perfect for both creative and online editing! The new high performance playback engine, which is up to 10x faster, makes playback instantaneous and trimming more responsive than ever, even for processor intensive formats such as H.264 and RAW.

DaVinci Resolve has been used on more feature films and television shows than any other grading system! You get the industry’s most powerful primary and secondary correction tools, advanced curve editor, tracking and stabilization, noise reduction and grain tools, Resolve FX and more.

DOWNLOAD PUBLIC BETA NOW FREE.

Download free Baselight STUDENT from filmlight

At NAB2017, FilmLight will preview their latest product, Baselight STUDENT, a software-only macOS application that answers the call from a growing number of facilities for trained Baselight colourists and assistants.

Baselight STUDENT is intended as the perfect learning tool, either for those wanting to train to become a professional colourist, to work on short personal projects, or for experienced practitioners moving up to Baselight from other grading solutions. While the new application is free, interested parties must register and be eligible to become a part of the Baselight Learning Programme to obtain a licence.

“We’ve had growing requests from freelance colourists and creative artists for this product,” explained FilmLight founder and CEO, Steve Chapman. “But we don’t just want to hand out a free piece of software and walk away. We want to work with training institutions and the creatives to make sure that they have the right resources and support to achieve their goals.”

Baselight STUDENT is a fully functional version of FilmLight’s Baselight colour grading software – with GPU rendering – that runs on any supported Mac platform. This includes support for an optional control surface, like FilmLight’s Slate panel, and even SDI monitoring for a full grading suite experience.

The principle limitation is that the application is restricted to render out only h.264 movies or JPEG images. With no watermarking, this means that Baselight STUDENT can be used to create academic-year projects within the limitation of the delivery formats. Along with conform capability, colour space handling, format editing and the ability to render both image sequences and movie files, this also makes the application the ideal tool to learn how to start a career as a professional colourist assistant.

FilmLight will initially talk to participants to assess their individual needs and then provide them with a free licence for the appropriate length of time, along with practice material they can use to get up to speed. FilmLight will also develop regular video tutorials and live best-practice webinars for members of the Baselight Learning Programme.

“We’ve reached pretty far with our team of in-house trainers but it just isn’t physically possible for everyone to access face-to-face training with FilmLight product specialists,” added Chapman. “With the growing popularity of the BLG metadata workflow, and the forthcoming release 5.0 across our product line, this grading software provides a unique opportunity for everyone to get a handle on Baselight’s advanced colour tools as used by top-notch artists everywhere.”

FilmLight will demonstrate Baselight STUDENT at NAB2017 on booth #SL3828 (24-27 April, Las Vegas Convention Center). Interested parties can register for updates at http://www.filmlight.ltd.uk/baselightstudent.

SONY BVM-X300 V 2.0 - De Facto Standard Monitor for Colorist

“This monitor has become the de facto “standard reference monitor” for mastering HDR content, primarily due to its stability, uniformity, and fabulous contrast ratio,” - Josh Pines, Vice President of Imaging Research and Development for Digital Intermediates at Technicolor.

BVM-X300 V 2.0

The New Sony BVM-X300 30-inch* 4K OLED master monitor is the flagship model in Sony’s professional monitor line-up. This high performance TRIMASTER EL™ OLED monitor includes unparalleled black performance, colour reproduction, quick pixel response, and industry-leading wide viewing angles. In addition, the BVM-X300 has enhanced interface and features for High Dynamic Range (HDR) live production, as well as a wide colour gamut conforming to DCI-P3 and most of the ITU-R BT.2020 standard*. By unleashing these superb features and qualities, this master monitor makes an ideal tool for a wide range of applications such as colour grading and QC (quality control) in the 4K production workflow.

Key Specs -

Colour space - (colour gamut) ITU-R BT.2020*2, ITU-R BT.709, EBU, SMPTE-C, DCI-P3, BVM-X300 Native*3, S-Gamut/S-Gamut3*2, S-Gamut3.cine*2

EOTF - 2.2, 2.4, 2.6, CRT, 2.4(HDR), S-Log3(HDR), S-Log 3(Live HDR), S-Log2(HDR), SMPTE ST 2084(HDR) , HLG SG1.2(HDR), HLG SG Variable(HDR)

PRICE - Approx US $17,995.00

MediaLight - for professional color grading suite

The MediaLight 6500K Bias Lighting System was developed to provide an accurate dim surround bias light solution for the most demanding home theatre and professional video applications. Proper bias lighting reduces eye strain and is a critical component of a color-critical viewing environment.

The MediaLight 6500K is the solution to this problem with a CRI greater than 90 and color temperature accuracy previously only found in fluorescent based bias lights.


The MediaLight 6500K is USB powered, comes with a PWM dimmer and remote control, and has an easy to use peel and stick adhesive backing that makes installation fast and easy. MediaLight strips can also be easily cut to size making them perfect for any size monitor.

The MediaLight 6500K can be powered directly from the USB port on DM series FSI monitors as well as most consumer televisions. It is also equipped with an AC power adapter for displays or applications where USB power is not available.

For more info :- MEDIALIGHT
 

Inspiring the world - Jill Bogdanowicz, Senior DI Colorist

JILL BOGDANOWICZ - Senior DI Colorist

Jill Bogdanowicz actually started her career as a colorist at an exceptionally early age. At the tender age of 18 she had already landed an internship in Kodak's telecine department in Rochester that lasted for two years. Highly educated, she attended the State University of New York at Geneseo as a fine arts major and (amazingly) a physics minor where she earned her BA degree.

Following that she attended art school in Italy at the University of Siena. She lives and loves art in her personal life through her hobbies painting with oils, water colors, and charcoal. And, of course, she has her own darkroom for black and white photography.

Bogdanowicz started her work as a digital colorist at Cinesite on the first full DI, O Brother, Where Art Thou?, for Joel and Ethan Coen and cinematographer Roger Deakins, ASC, BSC. She comes from a family of imaging experts — her father spent his career as a top-level scientist at Eastman Kodak’s Rochester, NY headquarters and her sister is also a successful digital colorist.

The Bachelors (digital intermediate colorist) (post-production)
2016 Junior (TV Series) (colorist - 2016) (post-production)
2016 Ouija: Origin of Evil (digital intermediate colorist: Company 3)
2016 Birth of the Dragon (digital intermediate colorist)
2016 War Dogs (senior colorist)
2016 Ghostbusters (senior digital intermediate colorist)
2016 Roots (TV Mini-Series) (senior colorist - 4 episodes)
- Part 4 (2016) ... (senior colorist)
- Part 3 (2016) ... (senior colorist)
- Part 2 (2016) ... (senior colorist)
- Part 1 (2016) ... (senior colorist - uncredited)
2016 Teenage Mutant Ninja Turtles: Out of the Shadows (additional colorist)
2016 Miracles from Heaven (digital intermediate colorist)
2015-2016 Dr. Ken (TV Series) (senior colorist - 15 episodes)
- Ken at the Concert (2016) ... (senior colorist)
- The Wedding Sitter (2016) ... (senior colorist)
- Dave’s Valentine (2016) ... (senior colorist)
- D.K. And the Dishwasher (2016) ... (senior colorist)
- Ken’s Physical (2016) ... (senior colorist)
Show all 15 episodes
2015-2016 Agent Carter (TV Series) (senior colorist - 18 episodes)
- Hollywood Ending (2016) ... (senior colorist)
- A Little Song and Dance (2016) ... (senior colorist)
- The Edge of Mystery (2016) ... (senior colorist)
- Monsters (2016) ... (senior colorist)
- Life of the Party (2016) ... (senior colorist)
Show all 18 episodes
2016 Gods of Egypt (senior colorist)
2016 The Free World (senior colorist)
2015 Goosebumps (digital intermediate colorist)
2015 Blood & Oil (TV Series) (supervising digital colorist - 1 episode)
- Pilot (2015) ... (supervising digital colorist - uncredited)
2015 Blindspot (TV Series) (digital colorist - 1 episode)
- Pilot (2015) ... (digital colorist - uncredited)
2015/II Visions (digital intermediate colorist)
2015 Generosity of Eye (Documentary) (colorist)
2015 Sharing the Rough (Documentary) (colorist)
2015 Broken Horses (digital intermediate colorist)
2015 Last Knights (digital intermediate colorist)
2015 Mothers of the Bride (digital intermediate colorist)
2015 A Sort of Homecoming (digital intermediate colorist)
2015 What It Takes (Short) (colorist)
2015 Dragonheart 3: The Sorcerer’s Curse (Video) (digital intermediate colorist)
2015 All She Wishes (digital intermediate colorist)
2015 Wild Card (digital intermediate colourist)
2015 Cheerleader Death Squad (TV Movie) (digital colorist)
2015 Lumen (TV Movie) (digital colorist)
2014 Bluffing (Short) (colorist)
2014 Nanny Cam (digital intermediate colorist)
2014 The Brittany Murphy Story (digital intermediate colorist)
2014 Chasing Life (TV Series) (colorist)
2014 The Little Rascals Save the Day (Video) (colorist)
2014 Veronica Mars (colorist)
2014 The Grand Budapest Hotel (digital intermediate colorist)
2014 HR (TV Movie) (colorist)
2013 Mike Tyson: Undisputed Truth (TV Movie) (colorist)
2013 Beneath the Harvest Sky (digital intermediate colorist)
2013 Olympus Has Fallen (digital intermediate colorist)
2013 Dead Man Down (senior digital intermediate colorist)
2013 Manhunt: The Inside Story of the Hunt for Bin Laden (Documentary) (senior digital intermediate colorist)
2013 Stoker (digital intermediate colorist)
2013 Anatomy of Violence (TV Movie) (colorist)
2012/II Photo Finish (Short) (digital film colorist)
2012 La vida precoz y breve de Sabina Rivas (senior digital intermediate colorist)
2012 Trouble with the Curve (digital film colorist)
2012 The Expendables 2 (digital film colorist)
2012 Ted (digital film colorist)
2012 The Dictator (senior digital film colorist: Technicolor)
2012 Magic City (TV Series) (final colorist - 3 episodes)
- Castles Made of Sand (2012) ... (final colorist)
- Feeding Frenzy (2012) ... (final colorist)
- The Year of the Fin (2012) ... (final colorist)
2012/I A Thousand Words (digital film colorist)
2012 The Babymakers (senior digital intermediate colorist)
2012/I The Raven (digital colorist)
2012 LOL (senior digital film colorist)
2011 J. Edgar (digital film colorist)
2011 Hide Away (senior digital film colorist)
2011 Zookeeper (senior digital film colorist)
2011 The Hangover Part II (senior digital film colorist)
2011 Cinema Verite (TV Movie) (senior digital film colorist)
2011 Jesus Henry Christ (digital intermediate colorist)
2011 Source Code (digital film colorist)
2010 And Soon the Darkness (digital film colorist)
2010 The Big Bang (senior film colorist)
2010 Hereafter (digital film colorist)
2010 El Narco (senior digital film colorist)
2010 Grown Ups (digital film colorist)
2010 The Wolfman (digital film colorist)
2009 Invictus (digital film colorist)
2009 How I Survived the Zombie Apocalypse (Short) (colorist)
2009 Sorority Row (digital film colorist)
2008 Seven Pounds (digital film colorist)
2008 Gran Torino (digital film colorist)
2008 The Longshots (digital film colorist)
2008 Meet Dave (digital film colorist)
2008 Hancock (digital film colorist)
2008 Changeling (digital film colorist)
2008 Street Kings (digital film colorist)
2008 Superhero Movie (digital film colorist)
2008 Fireflies in the Garden (digital intermediate colorist)
2008 Welcome Home, Roscoe Jenkins (digital film colorist)
2007 Trick ‘r Treat (digital intermediate colorist)
2007 Along the Way (colorist)
2007 Things We Lost in the Fire (digital intermediate colorist: Technicolor Digital Intermediate)
2007 The Kingdom (digital film colorist)
2007 The Invisible (digital film colorist: Technicolor Digital Intermediates)
2007 Wild Hogs (digital film colorist)
2007 Norbit (digital film colorist)
2006 Smokin’ Aces (supervising digital colorist)
2006 Letters from Iwo Jima (digital film colorist)
2006 The Santa Clause 3: The Escape Clause (digital film colorist)
2006 Flags of Our Fathers (digital film colorist)
2006 All the King’s Men (digital film colorist)
2006 The Sentinel (digital film colorist)
2006 Scary Movie 4 (digital film colorist)
2006 The Shaggy Dog (digital film colorist: Technicolor Digital Intermediates)
2005 The Exorcism of Emily Rose (digital film colorist: Technicolor Digital Intermediate)
2005 The Dukes of Hazzard (digital film colorist)
2005 The Ring Two (video colorist)
2005 Hostage (digital intermediate colorist)
2004 Blade: Trinity (digital intermediate colorist: Laser Pacific)
2004/I Ray (colorist: Cinesite)
2004 She Hate Me (senior digital film colorist)
2004 Barbershop 2: Back in Business (digital intermediate colorist)
2004 Never Die Alone (senior digital film colorist)
2003 Connecting Dots (senior digital film colorist)
2003 The Last Samurai (senior digital film colorist)
2003 Gothika (digital intermediate colorist)
2003 S.W.A.T. (digital colorist)
2003 Klepto (digital intermediate colorist)
2003 A Guy Thing (digital opticals colorist - uncredited)
2002 Die Another Day (digital intermediate colorist)
2002 A Midsummer Night’s Rave (senior digital film colorist)
2002 September 11 (digital intermediate colorist - segment “USA”)
2002 Hart’s War (digital film colorist)
2001 Jay and Silent Bob Strike Back
— http://www.imdb.com/name/nm1000465/

- IMAGE/INFO SOURCE - COMPANY 3, DIGITALMEDIANET.COM, EFILM