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

How to create professional Color Grading Environment?

SOLUTION

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:

Good

• 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)

Better

• 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)

Best

• 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)

World's best colorist 2016- Steven J. Scott

17 November 2016 (Los Angeles, CA) The Hollywood Professional Association (HPA) announced the winners of the 2016 HPA Awards (#hpaawards) during a gala celebration tonight 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.

Awards were bestowed in creative craft categories honoring behind-the-scenes artistry, and a host of special awards were also presented.

The winners of the 2016 HPA Awards are:

OUTSTANDING COLOR GRADING – FEATURE FILM

WINNER:
“The Revenant”
Steven J. Scott // Technicolor Production Services

OUTSTANDING COLOR GRADING – TELEVISION

WINNER:
“Gotham – By Fire”
Paul Westerbeck // Encore Hollywood

OUTSTANDING COLOR GRADING – COMMERCIAL

WINNER:
Hennessy “Odyssey”
Tom Poole // Company 3

2016 Best colorist in Hollywood - HPA awards

Hollywood's best colorist award :

Hollywood Professional Association (HPA) Awards nominations was announced on Tuesday for the awards in postproduction categories, which will be handed Nov. 17 at the Skirball Cultural Center.

2016 HPA Award nominees for outstanding color grading are :

Feature Film Category : Best Colorist

Carol”
John Dowdell // Goldcrest Post Productions Ltd

“The Revenant”
Steven J. Scott // Technicolor Production Services

“Brooklyn”
Asa Shoul // Molinare

“The Martian”
Stephen Nakamura // Company 3

“The Jungle Book”
Steven J. Scott // Technicolor Production Services

John dowdell

HPA 2016 - Best colorist Nominee

“Carol”
John Dowdell // Goldcrest Post Productions Ltd

steven j scott

HPA 2016 - Best colorist Nominee (DUAL NOMINATIONS)

“The Revenant”
Steven J. Scott // Technicolor Production Services

“The Jungle Book”
Steven J. Scott // Technicolor Production Services

Asa Shoul

HPA 2016 - Best colorist Nominee

“Brooklyn”
Asa Shoul // Molinare

Stephen Nakamura

HPA 2016 - Best colorist Nominee“The Martian”
Stephen Nakamura // Company 3

HOLLYWOOD MOVIE LUTS - DOWNLOAD FREE

HOLLYWOOD MOVIE LUTS- FREE DOWNLOAD

I receive a lot of requests to share the techniques I use to achieve the various bollywood/hollywood movie looks. Every week I will post tutorials and LUTs to achieve various grading styles. You can send me a sample clips to support me.

FREE DOWNLOAD LUTS

RETURN OF XANDER CAGE LUT - FOR LOG IMAGE
RETURN OF XANDER CAGE LUT - FOR LINEAR IMAGE

View fullsize

SGO MISTIKA 8.7 - HDR, VR & 8K

BEYOND COLOUR- SGO MISTIKA 8.7

The world’s most powerful, flexible and complete DI post-production solution. Mistika represents the cutting edge in DI finishing systems, offering the most modern, complete and flexible toolset available today for on-set, dailies, commercial, broadcast and feature film post-production environments.

SGO Mistika facility - THE LOOK - LONDON

Built on years of research, development and production experience, Mistika empowers facilities with new levels of creative power, performance and workflow efficiency, revolutionising what it means to deliver for a client. More than a simple grading system, Mistika is a complete online and finishing solution, sitting at the heart of the world’s most innovative facilities.

Hollywood movies graded in SGO MISTIKA

Mistika is a total post-production solution. With world class conform, online editing, VFX, colour-grading, stereoscopic 3D and delivery tools built in, Mistika stands as the creative foundation for any facility. All tools are instantly available, allowing creativity to be fully explored with speed and accuracy, guaranteeing the perfect end result for a client. And with the ability to jump seamlessly between tasks, Mistika removes the need to bounce media between functional areas within a post-facility; projects can be managed and completed within a single software package, without the need for time-consuming renders between production stages.

Mistika’s all-in-one platform blurs the divide between editorial, FX, colour and finishing, streamlining out-dated facility workflows and empowering operators with a new sense of artistic freedom.

To know more about Mistika Click HERE

Free Davinci Resolve color grading tutorial Ground Control Color

Ground Control makes LUTs.  Awesome LUTs for color grading. Check their website for more info www.groundcontrolcolor.com

Understanding LUT - FILM RIOT

LUTS SIMPLIFIED

Luts can be a very confusing topic.

Ryan explains what a lut is and how to use it to make great images. 
You can download free luts from www.digitalcinemacolorist.com

HDR Color Grading Solutions

HDR COLOR GRADING FACILITY IN DUBAI, UAE

HDR requires high contrast with deep blacks & bright whites, not just brighter pixels. Simply making a scene brighter isn’t the solution and can skew the creative intent of a scene. 

Different types of content (theatrical, live sports, local news, and music videos), benefit from different approaches. An old TV show (vintage color correction) does not require the same level of remastering for HDR that a new theatrical release would require. Creating content now in HDR provides greater flexibility, even if the final delivery format is not HDR. Expanding the dynamic range of content to improve the experience while preserving artistic intent is what we do best. Our services include a range of solutions for both existing libraries and new content creation from camera original RAW content.

HDR color grading services are available at Pixel House post production facilities in Dubai, UAE. Projects will be graded to the HDR specifications set forth by the UHD Alliance by colorist Sudip Shrestha.

Mail : Sudip@pixelhouse.ae for booking a schedule.

Color Grading in Davinci Resolve 12.5 - Dubai

Hollywood's most powerful color corrector!

DaVinci Resolve 12.5 combines professional non-linear video editing with the world’s most advanced color corrector so now you can edit, color correct, finish and deliver all from one system! DaVinci Resolve is completely scalable and resolution independent so it can be used on set, in a small studio or integrated into the largest Hollywood production pipeline! From creative editing and multi camera television production to high end finishing and color correction, only DaVinci Resolve features the creative tools, compatibility, speed and legendary image quality you need to manage your entire workflow, which is why it is the number one solution used on Hollywood feature films.

What’s New in DaVinci Resolve 12.5

DaVinci Resolve 12.5 is a massive update with over 1,000 enhancements and 250 new features that give editors and colorists dozens of new editing and trimming tools, incredible new media management and organization functions, new retiming effects, enhanced keyframe controls, on-screen text editing, new ResolveFX plug-ins and much more! The re-designed node editor is easier and more intuitive to use, there are new HDR grading tools, vastly improved noise reduction, lens distortion correction, a completely redesigned Deliver page for outputting projects and a new Fusion Connect command for round tripping visual effects shots between DaVinci Resolve and Fusion!

The world’s most advanced color grading tools.

DaVinci color correctors have been the standard in post production since 1984. There are thousands of colorists worldwide who understand the performance, quality and workflow of DaVinci. DaVinci Resolve features unlimited grading with the creative tools colorists need and incredible multi GPU real time performance. That’s why DaVinci is the name behind more feature films, commercials, television productions, documentaries and music videos than any other grading system!

Contact Us to visit our Color Grading Suite in Dubai, UAE.

PRELIGHT - Free on set color grading tool from Filmlight

FilmLight introduces Prelight, a freely licensed Mac OS X application designed to help DoPs and other professional creatives to author and review looks in pre-production and on-set.

Prelight’s simple-to-operate interface makes it a breeze to check how shots appear with looks or LUTs applied, and to import or add grading decisions that can be passed downstream. Images can be imported from almost any camera, and graded references exported in almost any format.

“What makes Prelight special is that it incorporates the full Truelight Colour Space technology you find in other FilmLight products,” said Peter Postma, Managing Director, FilmLight Americas. “So regardless of the camera, whether RAW or monitoring output, whether HDR or laptop screen, looks are applied consistently and grading decisions remain relevant even for final delivery.”

Prelight complements the FilmLight products FLIP and Daylight, which already provide full on-set and near-set grading capabilities. Many directors, working with a colourist early on or not, would just like more control over how the shot is going to look, and to be able to communicate that easily and visually to post-production.

The creative team can enhance the grade with simple but familiar tools, to create new reference stills as well as 3D LUTs or BLG (Baselight Linked Grade) files. With the render-free BLG workflow, the grades are non-destructive too: additional BLG metadata is created and attached to the stills. And the free licence for Baselight for Avid or NUKE, which makes it free to read and render BLG files, makes this workflow available to productions on any budget.

An extended licence can be purchased so that when these files arrive in the Baselight post house, or on a Daylight system for near-set dailies, the metadata is attached automatically and the BLG file becomes the basis of the grade, which can then be refined right up to the moment the deliverables are created. The additional licence also includes enhanced logging and monitoring capabilities.

As well as fitting in naturally with the BLG workflow, Prelight can fit into any post-production workflow because of the ability to export standard ASC CDL lists and third-party formatted 3D LUTs.

Integration with cameras, such as the ARRI Alexa SXT, means that Prelight can simplify the colour workflow dramatically by enabling fully automated metadata support all the way from the start of the production chain. Prelight can also interface to the majority of professional LUT boxes or monitors for real-time viewing.

“The production and post-production community is looking for ways to customise their workflows to guarantee the best scope for creativity,” Postma added. “Prelight is another exciting option to give simple but direct and reliable control. We are happy to offer the core features of Prelight, including the full grading and LUT toolkit, free, with very low cost options for connectivity and advanced metadata export.”

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.

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!"

Instagrading

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

WINNER:
“Birdman” Steven J. Scott // Technicolor

NOMINEES:
“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

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

NOMINEES:
“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

WINNER:
Lincoln – “Intro” Tom Poole // Company 3

NOMINEES:
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

Learn about Scratch 8.4 in Dubai.

SCRATCH – the world’s fastest, most interactive creative platform. Enabling artists and the technology of artistry for realtime dailies, color, compositing, and finishing workflows since 2004.

Any format, any resolution. HD, 3D, VR, 2k, 4k, 8k and beyond. Windows or Mac. Desktop or notebook.

A palette for the artist. A flexible platform for the technologist.

Learn Assimilate Scratch with Sudip Shrestha on site. 

Click Here to know more about Assimilate Scratch.
 

Click here for trial Registration of world best colour grading and finishing software, Scratch.

Ahmed AlSultan - Music Video Color Grading in Dubai

Enjoy the latest music video of Ahmed AlSultan.

DOP - Aboud Abyad
Colorist - Sudip Shrestha, Dubai
Shot in Sony FS7

Canon C300 Mark ii in Dubai Cabsat 2016

EOS C300 MARK II - KEY FEATURES

• 8.85MP Super 35mm Canon CMOS sensor.
• Shoot 4K at up to 410Mbps/10-bit with the Canon XF-AVC H.264 codec for easy 4K integration into existing workflows.
• 15 stops of dynamic range with Canon Log2.
• Simultaneously record 4K to dual internal CFast 2.0™ cards*, 2K/FHD proxy files to SD card and output 4K RAW to external devices.
• Concentrate on the action with improvements in Dual Pixel CMOS AF, Face Detection AF and Auto White Balance.
• High-sensitivity, low-noise images up to ISO 102,400.
• Sensor readout speed is improved, producing even lower rolling shutter distortion.
• Support for BT.2020, Canon Cinema Gamut and DCI-P3 colour space
• 4 channel 16/24-bit audio.
• Huge range of compatible lenses, servo zoom support and service changeable PL mount option.