(video) "By going through some beautifully crafted video essays, let’s explore how the great Guillermo del Toro uses color, objects, and trauma in his films."

An interview with New York Colorist Joe Gawler, who has an impressive pedigree: "Joe spoke with Filmmaker U about his work through various projects with the Criterion Collection and his extraordinary work on feature films."

There's more like this: "With too many colors in play and too wide a gamut to narrow, she couldn't use specific colors to code for emotions. So Feinberg's team did it with varying amounts of light—with luminance." (via Joe Stern)

(video) "Dolby created a worldwide tour across 9 cities to demonstrate the capabilities of the tools and conducted a survey of over 550 people to see how the Dolby Vision derived SDR stood up against the 'hand graded' original SDR version on 10 clips from Hollywood Studio content (both live-action and animation)." (via R Neil Haugen)

"The streaming debut was the next step in a controversial experimental theatrical window release strategy, which lets the studio keep most of the film’s distribution revenue cut from the streaming pot."

(video) "Most work in Resolve happens at the chosen timeline resolution. However, when taking individual clips to Fusion you are working on the source resolution – unless you applied super scaling . . . in Fusion an additional proxy setting, as well as an Auto proxy, is available."

(video) Recorded Livestream with colorist Cullen Kelly: "We're focusing on best practices for getting consistent, high-quality deliverables. We'll cover topics including gamma shift, metadata tagging, and delivery for the web."

(video) This highlights an interesting feature in these software scopes to dial in LEDs: "This presentation shows how the HS Scope uses the camera's electronic chroma signal as a guide for calibrating LED lights to get accurate colour reproduction on the different cameras you use." (via Brad Dickson)

(video) "In his latest Custom Workshop, Colorist Joey D'Anna gives you 3 useful custom Fusion templates for use on DaVinci Resolve's edit page."

(podcast) "It's been a challenging past year and half. In this episode we discuss getting back to the studio/office/facility and what that means these days."

(video) "In part 3 of this ongoing series, with foundational knowledge in place, start coding your first DCTL a colorist Cullen Kelly guides you step by step."

The nits are coming: "Our 3,000nit capable XM310K was one of the few solutions available that allowed colorists to grade well over 1,000nits, but it still fell a bit short of that critical 4,000nit deliverable threshold. With the XM312U ... our clients [reach] that 4,000nit goal and beyond, while also offering some key improvements to other performance benchmarks."

After a lengthy rundown of where the Threadripper Pro fits in AMD's lineup: "The main goal of this review is to test all of the Threadripper Pro 3000 hardware and compare against the equivalent Threadripper 3000 to get a sense of how much performance is gained by the increased memory bandwidth, or lost due to the slight core frequency differences."

The TV looks like fun. But the price is just downright funny.

Although two years old, this article is fun for a Trivia Night for Colorists: "MIT engineers have created a blackest black coating from carbon nanotubes that is reportedly 10 times darker than any material created before, including Vantablack."