FilmLight has launched a new award for colorists, open to any colorist working on any system. Submissions end Sept. 15, 2021. All submissions must have been created between January 2020 and June 2021. I've linked to the category descriptions.

(webinar) The price is reasonable and the talent pool has the top names that are out here and sharing: "We bring to you the biggest color training event of this year. 12 noted colorists. 8 hours of live and interactive training." June 26, 2021.

(video) This training series helps "you master HDR color, learn about HDR displays, and how to grade High Dynamic Range content. For colorists, VFX artists, DIT, editors"

A good read with the legendary colorist talking about the craft. Plus, a few DPs talking about working with Nakamura.

(video) A call for an industry standard to standardize exposure readings between cameras: "EL Zone brings back the direct relationship between lighting and lens stops that inform so much of image creation. (via Vivian Pimenta)

(video) Like the headline says. Presumably, for your summer reading list.

(video) "Cinematographer Rob Ellis walks through how to mix daylight and tungsten color light sources correctly. This tutorial showcases how to achieve an incredible lighting effect, but Rob also provides professional, contrarian lighting & cinematography wisdom throughout." (via Vivian Pimenta)

NAB has released its updated floor plan for October's NAB Show. It is smaller this year. A lot smaller. Smaller as in: No Upper South Hall. No Lower South Hall. Click through for the map and to see if your favorite vendors have signed up?

"In most cases, you’re not going to be able to completely remove the banding without doing a sky replacement. However, you can nullify the banding. Let’s look at a few methods."

(video) Luke Ross shows you how to cut up a single movie file into individual shots for color grading using Resolve's classic Scene Cut Detector.

(video) This tutorial tackles the DaVinci Resolve color chart matching tool. Of course, in my experience, clients never get Step 1 correct (expose the chart 'properly') - which kills the rest of the workflow. But if you want to know how this process needs to work then this is a good place to start.

ScopeBox continues with its updates: "Divergent Media Scopebox v4.1.1 adds HDMI audio support for AJA devices, adds color label to alerts, scroll timeline options and more."

(video) "Lead editor Travis Richmond covers how to send a project to DaVinci Resolve 17 for grading then send it back to Final Cut Pro."

Do you deliver out of Premiere Pro? Then this is a must-read: "If you’re unsure about Premiere Pro’s Maximum Render Quality (MRQ) and Maximum Bit Depth (MBD) settings, you’re not alone. It’s pretty complicated stuff, and it doesn’t help that Adobe’s documentation can be both hard to find and incomplete."

A detailed look at encoding for RGB, Y'CbCr, moving between them and dealing with Data/Full range vs Legal/Video range signals.

"Cullen Kelly kicks off a new exciting series about DCTL coding. Learn the vocabulary, syntax, and techniques to create DCTLs to aid your color grading."

(video) "In Part 2 of his series, Joey shows you how to take remote color sessions to the next level by adding macros & remote control to your ATEM switcher setup."

I'm astonished that Blackmagic Marketing didn't make a big deal out of this new feature designed for a distributed talent pool: "Learn how to use Resolve 17's new remote panel capabilities for remote color grading that is secure, interactive, and color accurate."

"NVIDIA's new GeForce RTX 3080 Ti is here, touting more performance and higher VRAM than the RTX 3080 - although with a larger price tag to match. In this article, we will look at how it performs in DaVinci Resolve Studio compared primarily to the RTX 3080 and RTX 3090."

"A profusion of standards, generations, and new Apple silicon Mac external monitor limitations have made this a conundrum for many readers."

This article has lots of fun nuggets like this: "...although last November, Intel quietly shuttered its giant 10,000-sq ft volumetric capture stage in LA. This contained 100 8K cameras and a green screen dome to create 3D holograms for AR and VR videos."

If you got a new set of AirPod Pro's for Father's Day then you'll find this article fun.