Company 3 colorist Matt Osborne recounts “pushing certain colors in directions that aren’t associated with modern filmmaking.”

Light Iron developed and deployed an all-cloud workflow for dailies, VFX pulls, conform and color on Mel Eslyn’s TV series, “Penelope.”

Cinematographer Grieg Fraser used infrared cameras to shoot the black-and-white sequence in director Denis Villeneuve’s “Dune: Part Two.”

A very complex color pipeline has evolved in production and post, with many formats and deliverables along the way.

Research from Nice Shoes delves into the relationship between color and narrative, exploring its applications for storytelling.

VFX producer Jesse Kobayashi will showcase the cloud-based workflow for “The Lord of the Rings: The Rings of Power” at the 2023 NAB Show.

Company 3’s Masick explains that “Tár” writer/director director Todd Field “wanted the images to look authentic and untouched.”

New nature documentary from David Attenborough examines how light and color can help uncover previously hidden animal interactions.

Cinematographers for “Belfast,” “Passing” and “The Tragedy of Macbeth” weigh in on the use of black and white as an aesthetic choice.

Company 3 and sister company PowerHouse VFX help keep the HBO series grounded with a naturalistic look and film-style approach to the imagery.

Adam Rogers delves into lighting for CG-animated films in his forthcoming book, “Full Spectrum: How the Science of Color Made Us Modern.”

Netflix docuseries employs new camera technologies for filming ultraviolet and polarized light to explore how animals use color in the wild.