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



AICE is the marketing communications trade association whose members are independent creative editorial, design, visual effects, color grading and audio post production companies. It is dedicated to the advancement and promotion of these companies and the essential role their services play in the media creation process.


Colorist: Josh Bohoskey 
The Mill

Colorist: Jaime O'Bradovich 
Beyonce - HOLD UP
Company 3

Colorist: Adrian Seery
Sia - The Greatest


What next big thing we need in color grading softwares?

Blog for the color grading software developers - Assimilate Scratch, Baselight and Davinci Resolve.






Color grading for Bahrain media industry from Pixel House

- Colorist : Sudip Shrestha -

Pixelhouse production, Dubai is providing remote color grading solution for Bahrain Media Industry.

For any sorts of business inquiry please contact

Inspiring the world - 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


How to create professional Color Grading Environment?


Colour of the wall - 18% GREY / SP50

Professional color grading rooms require careful attention in order to ensure colors are perceived accurately. SP-50 paint is carefully formulated to match modern color grading monitor performance and, therefore, optimize viewing conditions.

A typical setup will consist of painting the wall behind the monitors with SP-50. An ideal configuration will have all walls painted with calibrated paint. The ceiling can be non-reflective black or SP-50.

Why should you use it?

  • Achieve an accurate color grading environment
  • Calibrated monitors match from room to room
  • Clients value a room built around SP-50
  • Turns a normal room into a professional grading environment
  • A small investment with great results
  • Top facilities around the world build rooms this way
  • Increase the value of your services
  • Create a better working environment

Here are three options for building your room:


  • Wall behind monitors is painted with SP-50
  • Ceiling is painted black or a really dark gray
  • Other walls are painted white
  • One SLS-01 light installed close to the ground and washing softly on the wall
  • No other light sources, internal or external (windows)


  • Wall behind monitors is painted with SP-50
  • Walls to the left and right of the console are painted with SP-50
  • Back wall painted white
  • Ceiling is painted black or a really dark gray
  • Two SLS-01 lights installed approximately two meters apart, close to the ground and washing softly on the wall
  • No other light sources, internal or external (windows)


  • All walls painted with SP-50
  • Ceiling is painted black
  • Two SLS-01 lights installed approximately two meters apart, close to the ground and washing softly on the wall
  • No other light sources, internal or external (windows)

Matching Cameras - Before you begin shoot

When shooting with multiple cameras, how can footage be matched between them?

Whether we know it or not, properly matched capture from each of our cameras is not only the right thing to do, it is a professional expectation. When camera teams are hired to cover an event or shoot a corporate video and three cameras are to be used, there is an unspoken understanding that the footage from each device will match.

Even seemingly simple footage is actually quite complex. There is a blend of elements, from grain and noise, to exposure and white balance.

If it’s impossible to bring matching equipment, choosing all of the camera settings prior to the shoot and then monitoring and adjusting prior to shooting will make the difference.

The best bet is to try to make enough time to test and work with the cameras prior to a shoot starting to at least get them close. Usually the larger the budget, the more setup and testing time there will be, but even with no lead time, a basic knowledge of how to set up cameras is important.

Checklist – Frame settings

Choose the frame size and rate that the project is to be delivered in and set each of the cameras to exactly those settings.

Shutter Speed/Angle

Ensure the shutter speed, also refered to as shutter angle, of each of the cameras is set the same. Shutter speed has a huge impact on the appearance of finished footage. Action sequences can benefit from overly quick shutter speeds, but a good starting place is generally around double the framerate of the camera.

White Balance

Each camera is different, but there should be tools for white balance on board. Most have a number of presets, and the more professional models will allow for custom white balancing, where a white card is held in front of the camera and set as the white that is recognized by the camera.

The key is to set the cameras to a similar setting to ensure that they’re close. If they all offer custom white balancing, that is obviously the best option.


Start with each camera set to the same ISO level and adjust. Many cameras have a default ISO, but the environment, lens characteristics, sensor characteristics or other factors can determine whether the level needs adjusting to more closely match other cameras.

While some high-end cameras that shoot RAW footage can have exposure tweaked a bit in post production, setting ISO properly in-camera is essential.

Adjusting the camera’s ISO to be as low as possible while delivering a nice, balanced image is key.

It’s going to be very difficult to get cameras exactly identical from simply adjusting settings and comparing monitors, but these basics will help get the process started. It’s all about getting them as close as possible to minimize the work that will need doing in post-production.


Color in Motion

An Interactive Experience of Color Communication and Color Symbolism.

Maria Claudia Cortes '03 (M.F.A., computer graphics design) has been receiving widespread praise for her RIT thesis project, an animated Web site titled Color in Motion. The project received Best of Category honors in the I.D. Magazine 2004 Student Design Review competition, it was featured by Communication Arts Magazine in the 2004 Interactive Design Annual, and also made the pages of the December 2004 issue of Proyecto Diseno, the leading design magazine in Cortes' home country, Colombia.

Cortes joined Eastman Kodak Company in 2003, working first in Rochester and now in Bogota, Colombia, for the Technical Knowledge Management Department. She is a multimedia developer and graphic designer.

ACES - Demystified- Andreas Brueckl

Senior colorist Andreas Brueckl

Andreas Brueckl is founder of the Colormeup! academy and one of Europe's most respected colorists.
In the last few years he was grading about 200 TVCs a year as well as multiple tv shows, feature films and documentaries. Beside grading he was also supervising as lead colorist.
He works as a colorist on Baselight, DaVinci Resolve, Assimilate Scratch and Nucoda Filmmaster.

Andreas Brueckl is booked worldwide, color grading campaigns for e.g.: Vodafone, CocaCola, Volkswagen, Toyota, Audi, L’Oreal, Wella, Omo, HSBC, Magnum and many more.

He has published a couple of colorgrading tutorials.
Check out his tutorial-channel on vimeo

Since December 2014 he is exclusively contracted as Lead Colorist at Imagica SEA / Pinewood Studios in Malaysia.

If you are interested in a grading session, please get in contact.
Remote grading is also possible.

Contact: email

Skype: andreasbrckl
Follow me on Facebook: Fanpage
List of his projects:


The invention of color -Philip Ball

How did art get its colour?

Today, the artist's palette is arguably taken for granted, with more than a rainbow of colours available to the painter. And yet were it not for chemistry and the inventions enabled by the evolution of industry and technology, many of the colours that we know today may not have emerged.

In this lecture, one of a series hosted by the University of Bristol exploring some of the cornerstone ideas across the sciences, writer and Bristol Physics graduate Philip Ball talks about the intersection of art, science and creativity. 

He shows how in order to truly understand the history of art, one must appreciate the origins of the artist's palette and the process followed by such greats as Van Gogh and Picasso in creating their masterpieces.

Philip Ball, Big Ideas in Science lecture, University of Bristol: The Invention of Colour – lecture on how chemistry created new colours for artists throughout the ages and what effect that had on their art.

High Frame Rate - HFR in Cinema

In the past few years we’ve been pushing the technology envelope pretty hard – trying to get higher frame rates, greater resolution, more dynamic range,  more bit depth, more throughput/bit rates and RAW.   


High frame rates - delivering a higher standard

High frame rate movies are the way of the future. This new standard for movie production creates extraordinary crisp, lifelike images that transport audiences into the action.

What is HFR?

Frame rates are the number of images displayed by a projector in one second. 24 frames per second (FPS) is the standard in cinema. High frame rate productions of 48 or 60 FPS will set the bar higher - and set a new standard for moviegoers.

High Frame Rate (HFR) movies record and play visuals at twice the rate or more of what's shown in today’s cinemas. Increasing the frame rate stops the blurring, flickering and stuttering visuals that are common with 24 FPS movies.

In 24 frame-per-second 3D action sequences, the fast-moving 3D images will appear to break apart, and most audience members will struggle to focus on the images. It’s this “image break up” that causes some audience members to feel ill or uncomfortable watching 3D movies.

The problem is solved with HFR 3D movies.


Higher frame rates will soon be the norm

Higher frame rates will improve 3D movies dramatically - creating ultrarealistic and more comfortable moviegoing experiences – and set a new industry standard.  – Recent releases of The Hobit (An Unexpected Journey, The Desolation of Smaug and The Battle of the Five Armies) as well as upcoming “Avatar’s” sequels – will use 3D HFR. Peter Jackson and James Cameron are betting on the fact that audiences will love the more immersive and detailed 3D HFR productions.

Learn to use Canon C300 Mark 2

The Canon EOS C300 Mark II is a true professional camera, and with 4K capability, the camera joins the ranks of high-end camera systems like the new ARRI Alexa SXT, the Red Epic Dragon, and the Sony F55. -

  • Super 35mm CMOS Sensor
  • 4K/24p and 30p
  • 2K RGB 444 12bit and 10bit options
  • Canon XF AVC H.264 Codec at 400+ MB/s
  • 4K RAW output
  • EF Lens Mount
  • Dual Pixel CMOS AF Technology
  • Rotating 4″ LCD Monitor
  • 2x 3G-SDI Output, 2x XLR Inputs
  • 2x CFast Card Slots
  • Timecode I/O, Genlock In & Sync OutCanon Log 2 Gamma

How to use Canon C300?


Scratch VR - with Scratch pad

Gesture-based grading panel of Assimilate

In addition to the already known support for all relevant panels Assimiliate is now bringing out a separate panel. Instead only illuminated buttons, the first version of the scratchpad (tentative name) will be provided with holographic buttons that könnnen show a continuation of the LED button 3D graphics. So Grading of Stereo3D content is more intuitive.

Encoders are recognized by Mocap-Camera, and so to a not depreciable (no moving parts), on the other hand for hand size, attitude and My personal and cultural preferences individually customized. There is the price any information, a first model will be on display at NAB.

Kinect compositing

The compositing features from scratch now work with the Microsoft Kinect together - so can be placed in the room via gesture control each element, and my posture arerelighting and DOF adjusted. S. Urkel, Head of Development, continued: "One problem with the Colorists is that the attitude of the panel can be harmful in the long term - that's why we are of assimilates with the new Kinect interface the only software provider for fit, movable Grader!"


Since many Grader anyway only use three different looks, features Assimilate now From web photo sharing app known "Instagram filter" to which the kit allows in cooperation with the LUTs a potty Grading - and so also error by the appointed makes interns impossible.

Support for LDR

Unique in Coloristenwelt is the support for LDR grading which, in view of current developments in the broadcasting sector "practically transmission standard was" so Urkle.The saving useless dynamic stages saves link bandwidth and prevents compression artifacts, particularly in H264 and WebM videos. A low-dynamic-range Legalizer, automated LUTs and practical converter nodes are available in the screen that appears to NAB version each user.

2-bit Mode

In order to leverage particular the contrast range of the monitors in the grading suite, Scratch is also an alternative interface with a matching codec available - in the 2: 0: 0 color space can be reduced all the videos on the essentials.

Chrome & consorts

"With the election of ChromeOS we ensure that the users of tomorrow can take full advantage of the power of Scratch. By connecting to mobile operating systems we open the door to new forms of creative work! "Says Product Manager S. Urkel. Furthermore, the new features are adapted to the needs of users - in order to create space for creative ideas in modern pipelines.

At NAB should at Assimilate booth Grading-enabled Chromebooks be seen with Scratch, and demo models further scratch ports. eS, BSD, Be / OS and Plan9 to the users are in the course of the second quarter are available, with the aim to develop the full force even in network environments - the link between the systems provides Scratch Web forth.Assimilate told that this choice of operating system found long-term market research - the systems with the best chance to still be relevant in 15 years.

Scratch VR

There was a whole bunch of new VR headsets to the updated Gear- and Oculus Rift versions to newly published Google Cardboard Plastic , thus already assisted in its development Assimilate was involved early on and the device to release.

Scratch Full - On Mobile

Another supported operating system for the full version of Scratch is Android (from version 6.1). According Assimilate as graders and finishers are on the move have access to all features, so far a hardware calibratable phone (list of available models) possess.

Scratch OS

Birdman - Outstanding color grading feature film 2015 (HPA)

The Hollywood Post Alliance (HPA) has unveiled the winners of the 10th Annual HPA Awards this evening at a gala celebration held at the Skirball Cultural Center in Los Angeles.  The HPA Awards recognize individuals and companies for outstanding contributions made in the creation of feature films, television, commercials, and entertainment content enjoyed around the world.

Honors were bestowed in craft categories honoring behind the scenes artistry, Engineering Excellence, and Creativity and Innovation.  Leon D. Silverman, a founder and current president of the HPA, was the recipient of the prestigious HPA Lifetime Achievement Award.

The winners of the 2015 HPA Awards are:

Outstanding Color Grading – Sponsored by Dolby

Outstanding Color Grading – Feature Film

“Birdman” Steven J. Scott // Technicolor

“Monsoon” Charles Boileau // Post-Moderne

“Lady of Csejte” Keith Roush // Roush Media

“The Boxtrolls” John Daro // FotoKem

“Whiplash” Natasha Leonnet // Modern VideoFilm

Outstanding Color Grading – Television

“Boardwalk Empire – Golden Days for Boys and Girls” John Crowley // Technicolor PostWorks NY

“Game of Thrones – Hardhome” Joe Finley // Chainsaw, Inc.

“Masters of Sex – A Parliament of Owls” Matt Lear // Sony Pictures Television

“Olive Kitteridge – Incoming Tide” Pankaj Bajpai // Encore

“Sense8 – What’s Going On?” Tony Dustin // Technicolor

Outstanding Color Grading – Commercial

Lincoln – “Intro” Tom Poole // Company 3

Caterpillar – “Lantern Festival” Rob Sciarratta // Company 3

Dodge – “Wisdom” Beau Leon // Company 3

Lexus – “Face Off” Dave Hussey // Company 3

Toyota – “Harrier” Siggy Ferstl // Company 3

Online color test challenge -Xrite

How well do you see color?

FACT: 1 out of 255 women and 1 out of 12 men have some form of color vision deficiency. Take the online color challenge, based on the Farnsworth Munsell 100 Hue .

Regardless of your color vision score, your ability to see color accurately depends on many factors.

  • Lighting: Light plays a significant role in color perception. It's actually the color of the light that determines the color your brain will perceive. Examine samples side-by-side when comparing colors, preferably under controlled lighting conditions.
  • Backgrounds Effects: A phenomenon called simultaneous contrast means that the background upon which we’re evaluating color strongly affects our eye's ability to correctly perceive the color.
  • Retinal Fatigue: Our eyes get tired very easily. When we stare at an object for longer than a few seconds, chemicals in our eyes start to deplete and begin sending incorrect information to our brains.
  • Poor Color Memory: Our brains find it extremely difficult to remember the specifics of any given color. Even looking at two colors across the room from each other to see if they match is a challenge.
  • Age: As we get older, color perception starts to fade. However, color perception isn’t just innate; it's also a learned skill.
  • Accept the color test challenge. Click Here.

Shooting in Dubai Guidelines and Faqs

Shoot Music video, film, corporate video – The Right Way.


If you’re shooting in Dubai, the first thing to consider is filming permission. If you want to film in a public place you must have official permission from the Dubai Film and Television Commission (DFTC).


Only companies registered in Dubai Media City (DMC) or Dubai Studio City DSC) can apply for permission from the DFTC. If yours is not such a company, you have to engage a qualified company to do this. One issue with the permission is cost. If you’re shooting for a corporate video or a television show you are most likely not used to having to pay an application fee of US $220 (800 dirhams) plus an additional US $550 (2,000 dhs) per day of filming in a public place.


Plus whatever administration fee the company applying for the permission on your behalf might charge. A good way to reduce this cost is to do all your public location shooting on particular days so you limit the daily charge. The steps to getting filming permission are:


The steps to getting filming permission are:


 1. Find a company registered in Dubai Media or Studio City that will apply for the permission on your behalf. Most companies will not do this unless they have crew on the job. The reason for this is that if anything happens during the shoot that upsets the authorities, the company that secured the permission could risk having their trade license revoked.
2. The company making the application should send you a list of all information they will need. This includes passport scans for everyone coming to Dubai for the shoot and a no objection letter confirming you are happy for the company to apply for the permission on your behalf.
3. Once the company making the application submits the information and passport scans you provide along with the required application documents you have to wait until the DFTC completes the process. The DFTC will contact other government bodies such as the police and the municipality before granting filming permission. Waiting to hear back from these authorities can sometimes delay things. The company submitting the application should follow up daily after three working days.
4. Once approved, the DFTC will notify the applying company and let them know the permission, an A4 document you must carry with you when filming, is ready for collection. If an application is rejected, it is unlikely you will be told why. Generally applications are approved.


If you want to do a shoot in UAE, plan in advance - and if you want to shoot in public places, allow time to get filming permission - at least five working days. Remember you will need a Dubai Media City or Dubai Studio City company to secure the permission on your behalf and most of these companies will not apply for the permission unless they have someone on location when you shoot.

Shoot permission requirements for UAE?

1.Passport copies of all crew.(Clear color scans.)

2.Letter from you to us and we will add a letter from us to the authorites on letterhead with stamp.Here’s a template of your letter.

To who’m it may concern,…………… are working with film production company ­­­­­­­­­…….............................  with a media licence to film in the UAE on a TV commercial shoot for ……………We will be filming at the following locations in Dubai(or name the emirates) and would like to have permission to shoot from Date………………. to Date………………..

List of all locations  and list of all crew.

The script and storyboard is attached and we naturally promise to abide by the rules regulations and morals of the United Arab Emirates.We appreciate your kind corporation in this matter.

With regards.(Sign and stamp on letterhead).

3.Treatment and simple storyboard.

Thank you - Tambi Studios (2013 -2015)

As a digital cinema colorist I joined Tambi Studios in Oct 25, 2013.

I am writing today to thank you for all the support that you have extended to me during my time here at Tambi Studios. From the time I started this job you have been nothing but helpful and supportive.

I really appreciate how you have always been so friendly and supportive of all of my efforts even when they are slightly misguided. Working for you has been very enjoyable and I have learned and grown a lot. A lot of my friends hate going into their jobs but I've always looked forward to coming in to work here.

Your encouragement and support have made all of the difference. Thank you. Tambi Studios.

Colour correction - Top websites

Color correction is the process where you make adjustments to the color and contrast of footage in your video. It involves tweaking every clip in your footage to provide a good level of exposure, not to mention matching color temperatures between different shots.

Top websites to learn color correction:



Da Habibi - Abdelfettah Grini is back with a new single

Color Grading Moroccan singer Abd El Fattag El Grini: Da Habibi.
Da Habibi is the popular Moroccan singer Abdelfettah Grini’s first single in five years. Courtesy Platinum Records.
Shot in RED HDRX - 5k. - Red Digital Cinema Camera
Graded in Davinci Resolve 11 Studio by Sudip Shrestha.