AI technology (probably) isn’t the humanity-destroying rise of the machines that some fear—at least not in the world of post-production. It’s showing up all over the film industry, from helping to cast actors to achieving incredible visual effects transformations, like turning actor Josh Brolin into Thanos for “Avengers: Infinity War.” […]
When colorist Mary Lee Parisi sits down with a show for the first time, she often focuses on the picture alone. “When you first get the tape, you kind of shuttle through to get an idea of what it’s about,” she says. […]
Millions may have seen ‘The Godfather,’ but, during its initial release, colorist Jan Yarbrough was not among them. Three decades after its release, however, he was given the opportunity to study the film more closely than any mere audience member. […]
There are a lot of reasons why creative media professionals require a display on their desks that is capable of representing highly accurate colors. To start, animators must be confident that color choices will result in final renders that look how they expect them to look. […]
While two displays sound better than one, there were a few problems with this solution, the biggest being the physical gap between them. Yes, it was possible to take a window or a palette and stretch it across both displays, but it was practically impossible to work that way.
The vault is the very first department through which each media asset goes. My job is to make sure that each asset is assigned a unique barcode number and that every single detail is entered into our inventory system for all tracking purposes. […]
Since 2010, Rizzoli & Isles has been entertaining television audiences with the snappy banter between its two leads, Detective Jane Rizzoli (Angie Harmon) and Medical Examiner Dr. Maura Isles (Sasha Alexander), and the complex murder mysteries they solve. […]