Time in Pixels

05/28/2026

Blake Jones — Colorist & Instructor — on the part of the craft most colorists never name out loud. "The golden rule is to keep things as simple as possible. Primary color correction controls and fixed qualifiers — using these two tools together will allow you to do almost anything." Read the f...

05/25/2026

"Colour stops being something you notice and starts being something you feel."

That's the moment Hootan Haghshenas chases on every project and with 185+ credits, an Academy Award-winning feature, and work for Netflix and Disney+ under his belt, he knows exactly how to find it.

In our latest Colorist Spotlight, Hootan opens up about HDR QC, the power of scopes, working remotely on complex pipelines, and why the fundamentals never go out of style.

Read the full interview https://timeinpixels.com/blog/colorist-spotlight-hootan-haghshenas

05/20/2026

Following our recent False Colour breakdown, we’re continuing the series with another essential tool for evaluating images: the Skin Tone Scope.

Because exposure is only half the equation.

Even well-exposed skin can still carry subtle colour shifts that change how natural an image feels.
And this is only part one 👀

Next up:
False Colour + Skin Tone Scope together in a real workflow setup.

05/15/2026

FALSE COLOR for exposure

Instead of relying on your eyes alone, false colour maps brightness values into colours - helping you expose skin tones, prevent clipped highlights, and avoid crushed shadows for better overall scene balance.

OmniScope’s False Color is one of the fastest ways to expose consistently from set through to the grading suite.

05/11/2026

"Source Signal and Histogram qualifiers were great for isolating just the blues of the Na'vi skin, so it was easy to maintain continuity between complex shots with a lot of background."

Tashi Trieu, DI Colorist, Avatar: The Way of Water

Full story → https://timeinpixels.com/blog/featured-artist-tashi-trieu/

05/08/2026

Meet Iain Pennington - Edinburgh colourist, former chef, and one of the most thoughtful voices in color grading today.

Iain's path into color grading started with food photography on his days off, which led to high-end retouching, and eventually to a growing fascination with moving image and post-production. After years of grading as a hobby alongside running a restaurant, he made the leap and hasn't looked back.

Today he runs a busy grading studio, splits his time between his own client work and assisting leading colourists across Europe, and has credits including Sky Sports, Alzheimer's Society, and the sci-fi feature The Correction Unit (Apple TV / Amazon Prime).

In the feature, Iain covers:

• His philosophy on eye-led grading vs. scope-led grading
• His full studio setup
• A detailed workflow breakdown from a real-world global skincare campaign
• His advice for newcomers: seek mentorship, work with people better than you, and accept this is a long journey

The full feature is worth a read for anyone in post-production, color, or frankly anyone thinking about a career change.

🔗 Read the full feature: https://timeinpixels.com/blog/inside-the-scopes-iain-pennington

From fine dining to colour grading - Iain Pennington is an Edinburgh-based independent colourist blending instinct, precision, and storytelling across commercial and narrative work.

05/06/2026

Introducing Nobe LutBake that bakes your DaVinci Resolve color corrections into a portable .cube 3D LUT with a single keystroke.

Whether you’re working on a live broadcast, designing on-set looks, or sharing grades across NLEs, LutBake fits right into your workflow. Grade in Resolve, capture the result, load it anywhere - LiveGrade, Flanders BoxIO, TVLogic IS-Mini, or any LUT-compatible tool.

What makes it stand out:
• Up to 100³ cube resolution for maximum accuracy
• Global hotkey capture - no interruptions to your grading flow
• Auto-detects 40+ spatial effects (blur, grain, Power Windows) and can disable & restore them automatically on Resolve 20+
• Smart filename templates with show, IDT, ODT, and note placeholders
• Optional DRX still export alongside your LUT
• One-time purchase, no subscription

A free demo is available - try it out and see how it fits your pipeline.
🔗 timeinpixels.com/nobe-lutbake

04/29/2026

Hardware were the gold standard.
But the signal they analyse isn’t.

If you’re working in HDR, wide gamut, or VFX pipelines, what you see on your scopes depends entirely on where they’re reading from.

SDI - encoded, subsampled
GPU - full-fidelity image data

That difference is bigger than most people think.

We broke it down in this piece.
Hardware vs software scopes - and what it actually means for your workflow today.

04/24/2026

"You need a great eye for color and great scopes to support your artistry, both technically and creatively. I highly recommend Omniscope to all colorists & color science engineers in our field." — Mark Todd Osborne

04/21/2026

What do you think about our booth? 🖥️

Thank you to our partner for letting us join their booth to display scopes from their monitors. We couldn’t find any better display company to partner with.

Day 3 - let’s go! 📍North Hall - Booth N1827