Sony's latest range of Televisions, the W9 series, feature a new backlighting technology which massively increases the range of colours that can be displayed.

Processing colour with analogue eyes

Published in Post & VFX

Here's something different: An iPad app that teaches colour correction the way it used to be done with analogue film

Five things a Colorist would like to say to a DP

Published in Production

When it comes to setting the look, talk early and talk often as working together results in the best images with the least pain and expense. By Terence Curren.

Light Illusion's new SpaceMatch DCM software promises to guarantee facility-wide colour matching of PC displays by circumventing the standard ICC Profiles that can throw things badly out of kilter.

At the FCP Exchange workshops held in Las Vegas during NAB 2016, Denver Riddle of Color Grading Central previewed some upcoming updates to Color Finale for FCP X.

Color grading in black and white

Published in Post & VFX

Tim Burton’s stop-motion Frankenweenie calls for black and white grading

The dangers of overcooking the grade

Published in Post & VFX

Simon Wyndham argues that when grading, especially to an extreme, one should consider whether the grade will enhance or detract from the overall viewer experience.

After close to three months developing and testing, Blackmagic has brought the latest version of its popular editing and colour grading suite, DaVinci Resolve 12.5, out of beta. This, you feel, is an essential upgrade.

In our continuing feature, Red Shark Technical Editor, Phil Rhodes, delves into the complexities of the Academy Color Encoding System (ACES). Part Two looks at how the system works.

While there's a lot still to discuss concerning Da Vinci Resolve 12.5, here we focus on two features that may seriously impact your colour management workflow.

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