Diego Yhama, CSI is a Colombian colorist and founder of Bogota post-production boutique, Estudio Roco. The company provides color grading and other services for film, television and advertising, including projects for NatGeo, Discovery Channel, Discovery Home and Health, and The Fox Channel. It has also post-produced several music videos for Colombian pop star Carlos Vives.

Estudio Roco’s mission is to provide high quality color service to Colombia’s small but growing production industry. “We work on content that we enjoy and needs a little love,” Yhama explains. “We combine art and technology to deliver projects that look great and tell great stories.”

Yhama, who is also a DaVinci Resolve Master Trainer, recently launched Coloristas Hispanos, a podcast focused on colorists in the Spanish-speaking world. He has conducted entertaining and insightful interviews with colorists from Argentina, Mexico and Spain. In a new episode scheduled for March 23, Yhama’s guest will be Argentineancolorist Luisa Cavanagh, whose credits include Argentina, 1985, a 2023 Oscar nominee for Best Foreign Film.

The purpose of the podcast is to garner recognition for talented Spanish-speaking colorists and to inspire others who would like to follow in their footsteps. “We all need heroes,” Yhama insists. “In South America, we’re familiar with top colorists in the United States, but what about local heroes? I think it’s also important to have a podcast focused on colorists in Spanish, because many people don’t speak English. 

We’re making it possible for aspiring artists to communicate with role models in their own language.”

Yhama produces Coloristas Hispanos in conjunction with Intek TV, a reseller of Blackmagic Design broadcast and film technologies in South America. Bi-monthly episodes are streamed live allowing viewers to submit questions directly to the participants. Past episodes can be viewed on the Intek TV YouTube channel.

Yhama hopes that Colorista Hispanos can contribute in a small way to the growth of the post-production industry in South America, and especially Colombia. Traditionally, his country has imported much of its film and television content from the United States and Mexico, but that is slowly changing. “Not so long ago, a monitor suitable for color grading cost $10,000 or more, now you can get a very good reference monitor for $2,000 or even $1,000,” he says. “One good thing that came out of the pandemic was that it encouraged people to communicate remotely. We attended virtual events and learned about new technologies. We began to realize, hey, we can be a part of this. We’re not so far away.”

Colorist Society Hollywood has launched a new podcast series focused on color grading and the role of the colorist. Hosted by veteran colorist Josh Petok, CSI the series will present insightful conversations with prominent colorists from around the globe and other notable professionals. The series will examine both the creative and technical aspects of color, and professional issues such as career advancement, educational opportunities and new technologies.

The Colorist Society Hollywood podcast is part of the group’s mission to promote the craft of color and foster a sense of community among colorists. “It’s a way to learn what other professionals have to say about our craft and draw inspiration from their experience,” says Petok, whose many credits include the television series MasterChef USA, Lego Masters and The Courtship. “Our aim is to share insights and build a stronger sense of community among colorists.”

In the series’ first episode, Petok talks with Lynette Duensing, CSI, a Colorist Society Fellow and Senior Colorist at Instinctual LLC Hollywood. She discusses the founding of Colorist Society Hollywood and its role as an advocate for the craft. She also discusses gaining proper screen credit for colorists, how covid impacted work environments and technological issues such as the adoption of the ACES color workspace. 

Future episodes will feature prominent colorists talking about color in animation, film restoration and other specialties.

“The podcast has an aspirational theme,” Petok says. “We feature elite colorists talking about their work and careers. It’s aimed at colorists at all levels who want to learn more about their profession and how other people go about their work.”

Listen to the Colorist Society Hollywood podcast on the Colorist Society Hollywood chapter page. 

Colorist Society (CSI) today announces the launch of a Chapter in Poland. Led by veteran colorists Konrad Ziecina, CSI and Tomasz Frąszczak, CSI, the Chapter is open to professional colorists across Poland’s rapidly growing film, television and advertising industries. It plans to foster networking opportunities, host meetings and training sessions, and promote the craft of color grading both in Poland and internationally. The group also plans to host a Colorist Mixer.

“Poland is one of the fastest growing production centers in the world with many world-class post-production facilities and experienced colorists,” says Colorist Society President Kevin Shaw. “In light of the amount of content being produced in Poland, it is very important to expand CSI’s presence there. Konrad and Tomasz have ambitious plans and we are thrilled by their efforts.”

Visit the CSI Polish Chapter page.

Ziecina and Frąszczak say the new chapter has received an enthusiastic response from their colleagues. “Poland has long been recognized for excellence in cinematography. We want the world to know that we also practice color grading at the highest level.” Ziecina states. “We want to build a strong community and promote high standards.”

Film and television production in Poland is booming, driven by a government incentive program that provides 30 percent rebates for certain production and post-production expenses. Netflix, which earlier this year expanded its regional headquarters in Warsaw, has produced several projects in the country, including The Woods, Sexify, Operation Hyacinth and Nobody Sleeps in the Woods. Netflix’s Polish production arm also recently produced the six-part drama High Water, which has drawn critical praise for its authentic depiction of disastrous floods in Silesia in 1997.

Zięcina and Frąszczak say that Polish colorists are looking for new opportunities not only in Poland, but also internationally. “The advent of remote work is opening doors to the global film industry,” they observe. “We are very excited about the progress of technology and the opportunities it provides.”

Ziecina is Founder and Senior Colorists of Rejbel Studio, Krakow. A three-time nominee for Best Colorist at the annual Colorist Awards, he has graded numerous features, documentaries, television series, commercials and music videos, with recent credits including the films Gamodi, Swell and The Devil.

Frąszczak is Senior Colorist at Warsaw facility GDP Film Studio where his recent credits include the Discovery Channel series Polish Truckers and Górnicy PL.

Other founding members of the Polish Chapter include Tomasz Czech, Oskar Pospolitak, Piotr Putko and Jakub Matras.

In May, the Australian Cinematographers Society and the Colorist Society’s Australia/New Zealand Chapter co-hosted a two-day event focused on HDR Held at the ACS headquarters in North Sydney, “HDR: Shoot to Screen Weekend” featured a series of insightful panel discussions and technical presentations on best practices for working in HDR throughout the production cycle.

The event brought together a varied line up of talented speakers including representatives from monitor manufacturer EIZO, workflow specialist the Rebel Fleet and technology supplier Mojo Media Solutions. Ben Allan, ASC/CSI; Warren Eagles, CSI; Marcus Smith, CSI; Stuart Pointon and Adam Eden, CSI discussed the varying ways HDR impacts cinematographers and colorists. Andrew Smith, Senior Post Production Representative from Amazon Studios, talked about the streaming service’s requirements for HDR delivery.

Other sessions covered HDR applications for creating film effects, measuring NITs on set and producing ‘Show’ LUTs. Yanni Kronenberg won the quiz, picking up Dolby Vision training as his prize. Several other attendees won training sessions from FXPHD for Resolve and HDR. Sponsors included Amazon Prime Video, the Rebel Fleet, EIZO, Blue Post, Mojo Media Solutions and fxphd.

You can view videos from the event on the Australia and New Zealand Chapter page.

Colorist Society (CSI) will co-host a meet-and-greet event on Monday, 14 November at EnergaCAMERAIMAGE. Co-hosted by Dolby Laboratories and Warsaw post-production facility Black Photon, the event is open to colorists, their guests and all others. CSI and its co-hosts will share their experience of ACES and Dolby Vision, as well as the latest monitors and cameras.

Admission is free, but tickets are required. The event will include an open bar.

What: CSI at Camerimage: HDR Workflows from Cinematographer to Colorist

Where: Restauracja Nova 22 - 4 Strony Świata 22 Żeglarska 87-100 Toruń Poland

When: Mon, 14 November 2022, 18:00 – 22:00 CET

Cost: Free but registration is required

Register:  https://www.eventbrite.co.uk/e/csi-at-camerimage-hdr-workflows-from-cinematographer-to-colorist-tickets-464943407247?lang=en-gb&locale=en_GB&status=30&view=listing

The 30^th EnergaCAMERAIMAGE will be held 12-19 November in Toruń, Poland. Winners of the 2022 Filmlight Colour Awards will be announced on the eve of the festival, 11 November.

In a case study published by TVB Europe, Eric Whipp CSI discusses his work on George Miller’s film Three Thousand Years of Longing. Based at Alter Ego, Toronto, Whipp spent months collaborating with Miller and Cinematographer Jon Seale in developing the unique look of the fantasy drama. Whipp who grades on Filmlight’s Baselight has worked with Miller and Seale on several previous films including Mad Max: Fury Road, which brought Seale and Oscar nomination.

You can read the full story here.

Scores of colorists, cinematographers and other industry professionals turned out in late May for two-day event focused on HDR, co-hosted by Colorist Society’s Australia/New Zealand Chapter and the Australian Cinematographers Society. Held at ACS headquarters in North Sydney, “HDR: Shoot to Screen Weekend” featured a series of insightful panel discussions and technical presentations on best practices for working in HDR throughout the production cycle.

Presenters included representatives from monitor manufacturer EIZO, workflow specialist the Rebel Fleet and technology supplier Mojo Media Solutions. Ben Allan, ASC/CSI; Warren Eagles, CSI; Marcus Smith, CSI; and Adam Eden, CSI discussed the varying ways HDR impacts cinematographers and colorists. Andrew Smith, Senior Post Production Representative from Amazon Studios, talked about the streaming service’s requirements for HDR delivery.

Other sessions covered HDR applications for creating film effects, measuring brightness and producing LUTs. Yanni Kronenberg won the quiz, picking up Dolby Vision training as his prize. Several other attendees won training sessions for Resolve and HDR. “It was a fantastic weekend,” says Eagles. “We had great numbers, excellent questions and wonderful interactions with friends and colleagues. Ben Allan and I were stoked with the whole weekend!”

Sponsors include Amazon Prime Video, the Rebel Fleet, EIZO, Blue Post, Mojo Media Solutions and fxphd. Videos of the sessions will be made available in coming months.

If you haven’t joined Colorist Society’s Facebook Page and other social platforms, you are missing an opportunity to network with other colorists, see great work from around the world, and keep up with the latest industry developments.

Colorist Society began growing its social presence last year. Our Facebook Page now has more than 3,000 followers while our Instagram account has over 80,000 followers. Each features daily posts, and stimulates considerable engagement from colorists and other industry professionals. CSI is also active on Twitter and LinkedIn.

Bobola Oniwura, an independent colorist who manages CSI’s social campaign, says its purpose is to celebrate the craft of color in all its forms. “We post work in film, television, advertising and music videos,” he notes. “Posts come from all over the world, but our social pages are not blogs. We don’t accept submissions. Rather we review work colorists post to their personal pages and share the best. It’s a big platform where you can see a lot of color styles and palettes and draw inspiration for your own projects.”

Our social pages have become gathering spots for colorists to meet, ask questions and extend their professional network. “I am often contacted by colorists looking for ways to learn new skills,” Oniwura says. “I point them to iColorist and other training sites. I also get messages from filmmakers and producers looking for colorists to grade their projects.”

A Nigerian citizen, Oniwura is currently living in Missouri while his wife pursues a MBA degree at Washington University in St. Louis. Working remotely, he remains busy with commercial, music video and long-form projects. “I get work from Nigeria and from people who contact me through my website,” he explains. “Geography is not a barrier. I connect with clients everywhere.”

Oniwura sees great potential for further leveraging social tools on to benefit CSI members. He would like to see online training opportunities expanded. He is also keen to produce an interview series with colorists discussing their careers. “I find it interesting to learn how people traveled down this road,” he says. “I studied architecture, but now I’m color grading. I went from architecture to advertising and digital marketing. At an advertising agency, I met a production and post-production team and that sparked my interest in color. I want to understand how other colorists got their starts. The journey is very important.”

Scores of colorists, cinematographers and other industry professionals turned out in late May for two-day event focused on HDR, co-hosted by the Australian Cinematographer’s Society and the Colorist Society’s Australia/New Zealand Chapter. Held at ACS headquarters in North Sydney, “HDR: Shoot to Screen Weekend” featured a series of insightful panel discussions and technical presentations on best practices for working in HDR throughout the production cycle.

Presenters included representatives from monitor manufacturer EIZO, workflow specialist the Rebel Fleet and technology supplier Mojo Media Solutions. Ben Allan, ASC/CSI; Warren Eagles, CSI; Marcus Smith, CSI; and Adam Eden, CSI discussed the varying ways HDR impacts cinematographers and colorists. Andrew Smith, Senior Post Production Representative from Amazon Studios, talked about the streaming service’s requirements for HDR delivery.

Other sessions covered HDR applications for creating film effects, measuring brightness and producing LUTs. Yanni Kronenberg won the quiz, picking up Dolby Vision training as his prize. Several other attendees won training sessions for Resolve and HDR.

“It was a fantastic weekend,” says Eagles. “We had great numbers, excellent questions and wonderful interactions with friends and colleagues. Ben Allan and I were stoked with the whole weekend!”

Sponsors include Amazon Prime Video, the Rebel Fleet, EIZO, Blue Post, Mojo Media Solutions and fxphd. Videos of the sessions will be made available in coming months.

The Colorist Society and iColorist are hosting an in-person mixer on 7 July at the White Horse Pub in London. Please join us at this iconic Victorian drinking establishment. See old friends. Expand your network. The event is free, but space is limited so register today.

What: Colorist Society (CSI) and iColorist Mixer

Where: The White Horse, 16 Newburgh Street, London W1F 7RY

When: 7 July 2022 6:00 pm – 10:00 pm

Register: https://www.eventbrite.com.au/e/soho-colorist-mixer-tickets-344610839297