The Murderbot Edition: Weekly Sunday Morning Color Grading Newsletter

August 3, 2025

In this edition: Worm attacks, cinema sound, Baselight shaders, moving Avid to Resolve, machine learning in post, ARRICORE, QDOLED, more...


Series
Issue DCXXIV: The Murderbot Edition

The Color Grading Newsletter

News, reviews, thoughts, career advice, and humor for professional Video / Film Colorists & Finishers. Delivered Sundays. Curated by a professional color grader and the CEO of MixingLight.com.
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Sunday, 03 August 2025

2010 – 2023 Web Archives
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Curated & Published
by
Patrick Inhofer
From The Publisher
We are hitting the August news doldrums. But there are still good items to read.

Enjoy!

I’ll see you next Sunday.

Happy Grading!

Sincerely,

Pat Inhofer
Chief Photon Wrangler, Publisher
MixingLight.com

PS – If you find an item you think should be in this newsletter, email me a quick note.

PPS – As a Newsletter subscriber, comment on this article at Mixing Light (login required).

The Craft
Featuring the work of creative craftsmen, the theory of color, and industry news. Learn practical workflows, useful theories, and actionable insights from existing (and emerging) leaders and teachers in our industry.

(video) This series revived my hope for Apple Original series – and the title sequence is one of my favorites. The VFX completely supports the narrative and they should all be proud of their work:

“DNEG VFX Supervisor Jelmer Boskma offers a comprehensive behind-the-scenes look at the visual effects for Murderbot Season 1, emphasizing the importance of early previs and techvis in shaping key action sequences, most notably the dramatic “Worm Attack” in Episode 1. He explains how previs, creature design, and environmental planning worked in tandem to support both storytelling and technical execution, allowing for better stunt planning and photoreal CG integration.” There’s an embedded VFX breakdown video, as well.

“When it came time to do final color in Resolve, Ferstl really had two “film look” nodes in play. The show LUT functioned as the output LUT, shaping the overall curve as described above. A second node earlier in the node tree was where Ferstl did his work within the Film Look Creator plugin, really dialing in selected attributes and artifacts of negative and positive film stocks in a unique way specific to the requirements of the world Lehane created.”

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