COLOUR SPECIAL

What exactly is quantum dot OLED, and what does this technology mean for filmmaking – and beyond? Bram Desmet, CEO at Flanders Scientific, dives in

DOP Kim Ji-yong and colourist Park Jin-young reveal the creative choices behind the look of Squid Game Season 2

Gelato VFX’s Eddy Strickland outlines the processes involved in adding historically accurate colours to vintage film footage

We sit down with BAFTA-nominated black filmmaker Stewart Kyasimire to discuss the pitfalls and best practices of lighting diverse skin tones

Daniele Siragusano, image engineer at FilmLight, considers the impact of machine learning on the craft of the colourist

As the FilmLight Colour Awards return, we speak to this year’s judging panel to find out what makes the initiative so important – and what they’ll be looking for in entries

Colour control is more powerful – and complex – than ever before. Phil Rhodes explores the tools shaping how we see the image