Colorist Xu Shangyi About Livestreaming Perfect Looks 12 min read

Colorist Xu Shangyi About Livestreaming Perfect Looks

In this Interview, Shanghai-based colorist Xu Shangyi grants us exclusive insights into the production of commercial livestream events and his live grading workflow. Managing a show’s look while it’s getting broadcasted creates a demanding production environment with unique challenges. Keep reading to learn how Xu Shangyi used Livegrade Pro to realize livestream projects for big brands like TikTok and Corona (and by that, we mean the beer).

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A Movie Like a Painting: DIT Krzysztof Wlodarczyk Talks About “The Peasants” 26 min read

A Movie Like a Painting: DIT Krzysztof Wlodarczyk Talks About “The Peasants”

Krzysztof Wlodarczyk was DIT on an exciting film project recently. The Peasants is a movie whose creative approach was inspired by the painting style of the arts and crafts movement Young Poland. Even before the elaborate re-coloring process took place, this production was already characterized by complex, technological workflows. Krzysztof was responsible for color grading and data management on set. In the following interview, he explains how ShotHub helped him complement his work with Silverstack and Livegrade, and why working on The Peasants was a challenge that he enjoyed and drew motivation from.

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DP Romain Lacourbas Talks About Color Grading on Set of “ZeroZeroZero” 21 min read

DP Romain Lacourbas Talks About Color Grading on Set of “ZeroZeroZero”

On large scale productions that span over several countries, consistency, in general, is always an important principle. Look consistency across different units is no exception here, especially when several DPs are involved – as it has been the case on “ZeroZeroZero”. Together with DP Romain Lacourbas, we got to the bottom of the question, how the creative development of a picture can be visualized and improved by on-set grading with Livegrade.

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On set of an action comedy: DIT Leon Rivers-Moore on Netflix’s “Coffee and Kareem” 7 min read

On set of an action comedy: DIT Leon Rivers-Moore on Netflix’s “Coffee and Kareem”

It is always a plus if a team has previously worked together – workflows are often already established, and the communication is easier. The Netflix action comedy ’Coffee and Kareem’ was not the first collaborative project for DIT Leon Rivers-Moore and the camera team he worked with, which made it a lot of fun for everyone to shoot. Silverstack and Livegrade Pro were two old companions for him as well, which he used for the media asset workflow, QC and color grading on set of this particular production.

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Offloading in Coffee Shops: DIT Giulio Strata on “Under the Moon“ and “Swallow“ 4 min read

Offloading in Coffee Shops: DIT Giulio Strata on “Under the Moon“ and “Swallow“

After starting as DIT in Rome only two years ago Giulio Strata is more than passionate about his work in this ’crazy business‘ – as he calls it. Even if it can be challenging sometimes to work on small projects, when budget and resources are limited, that can gain new creative approaches and flexibility. He worked on two such projects, the short movies “Under the Moon“ and “Swallow“. In this interview he shares some insights about these two and explains what makes this job so special.

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Rock Bands, a Legendary Concert Venue, and Offloads on the Go. Andrew Spirk About the Documentary “Live at the Agora“ 5 min read

Rock Bands, a Legendary Concert Venue, and Offloads on the Go. Andrew Spirk About the Documentary “Live at the Agora“

Interviewing famous bands can be exciting enough. However, rushing around locations to get all necessary shooting material can result in a nerve-racking challenge. Therefore, offloading movie data on the go requires thorough planning. The guys of Clockwork 9 kept that in mind while shooting the documentary „Live at the Agora“. With a mobile setup and reliable software for their data management they made sure to accomplish their daily tasks as smoothly as possible.

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A smooth data workflow across multiple units: DIT Stefan Weßling talks about the production of “Capelli Code” 10 min read

A smooth data workflow across multiple units: DIT Stefan Weßling talks about the production of “Capelli Code”

Getting all your technical equipment and the entire crew to the designated shooting location can easily become a challenging scenario, especially when shooting at remote locations with hardly any road access. That’s exactly what DIT Stefan Weßling experienced on the production „Capelli Code“, when he had to get his setup to a location in the Swiss Alps that was only reachable by a 45-minutes ride on a snowcat.

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