Thai Huay Guide

This episode is sponsored by Colorist Society International and Mixinglight.com.

Vanessa Taylor, freelance colorist for the films The Great Gatsby and Lady Macbeth, joins me on this episode of the Colorist Podcast. 

Vanesa has over 20 years experience in the industry. She got her start working at Animal Logic, working on the Quantel Henry as an Online Editor. After that, she moved on to the DI department at Park Road Post. 

She’s worked on projects from Joss Whedon, Baz Luhrmann and Peter Jackson. She’s based out of the UK, but travels worldwide to work on a variety of different independent films. 

On this podcast, we talk about:

• Her experience with Quantel Henry, Pablo, eQ and iQ served as a basis for her career
• How she moved on to Park Road Post
• Knowing when to do a visual effects shot in a color grading application
• Working on a big budget feature film and where your contribution can fit it
• Learning several color systems
• Balancing the tech and art of color grading
• HDR and what it means creativity for colorists
• Working in other countries and their perceptions of color
• Running a session and how to keep it flowing
• The lowering cost of color grading systems and what it means for working colorists today
• The formation of the colorist society and how we benefit from joining together

 

Vanessa Taylor - Website

LinkedIn

Twitter

 

This episode is sponsored by:

Colorist Society International

For more information on how you can become a member, visit, www.coloristsociety.com.

and by: 

Mixinglight.com

Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

 

This episode is sponsored by Colorist Society International and Mixinglight.com.

On this episode of the Colorist Podcast, I talk with Adam Inglis, colorist for feature films Sherlock Holmes, Alien Vs Predator, and Mr. Turner. 

Adam was one of the first users of Baselight, when it was previously known as “Film Grader.” It was used internally at CFC in London when finishing the claymation feature Chicken Run. 

Currently, his work can be seen on the BBC Documentary series Planet Earth II. Shot with several different cameras in only natural light, the show puts the viewer in amazing landscapes with vibrant colored animals. 

On this episode, we talk about:

• His editorial background and getting his start at the Computer Film Company (CFC)
• Comparing working at a facility, starting your own shop, and working freelance
• The challenges of working on nature documentaries
• The advantages of ACES and color managed workflows
• Comparing grading systems strengths and weaknesses
• Getting booked as a freelance colorist
• Grading television versus grading films
• Avoiding over grading shots
• Grading without a panel and when it’s best to use one
• The lowered price of grading systems and its impact on the industry
• The role of Directors and DP in the grading process

 

IMDB

Filmlight Freelance Register

 

This episode is sponsored by:

Colorist Society International

For more information on how you can become a member, visit, www.coloristsociety.com.

and by: 

Mixinglight.com

Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

 

This episode is sponsored by Colorist Society International and Mixinglight.com.

On this episode of the colorist podcast, we’re trying something a little different. We take a break from talking with a colorist to focus on something quite a bit more technical. Dave Abrams, monitor calibrator and owner of Avical, joins me on this episode. It’s about to get seriously geeky, and in the best possible way :)

Dave has been calibrating monitors for over seventeen years. He’s been through the transitions from SD to HD, tape and film to file based, and now 4K and HDR. Post facilities from all over the world rely on his expertise and knowledge of monitors to get the most consistent and accurate monitoring possible. High end home theater owners also use his services to get great looking images at home. And seeing both sides of each situation gives him a great perspective on the industry as a whole. 

On this podcast, we talk about:

• How HDR is changing the approach to calibration
• The differences between calibrating by the numbers and when to go with your instincts
• The HP Dreamcolor, Eizo, and other computer monitors for color critical evaluation
• Room lighting considerations when setting up a grading room
• Comparing OLED, plasma, LCD monitors
• Considerations for large size client monitors used in combination with hero monitors
• Projects that are destined for web distribution and how to monitor for them
• Where the future is going for monitoring and what they still are lacking

 

Avical

Facebook

LinkedIn

Twitter

 

This episode is sponsored by:

Colorist Society International

For more information on how you can become a member, visit, www.coloristsociety.com.

and by: 

Mixinglight.com

Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

This episode is sponsored by Colorist Society International and Mixinglight.com.

Veteran colorist and ICA instructor Warren Eagles joins me on this episode of the Colorist Podcast.

Warren has been coloring for over 26 years. He’s graded a broad spectrum of projects from commercials, drama, and features. He’s best known for his work on Lock, Stock, and 2 Smoking Barrels, and recently has colored two indie features: Blue World Order and Project Eden: Vol 1.

I first came in contact with Warren 10 years ago when he created an FXPHD class for the da Vinci 2K plus. He drew back the curtain to the expensive color grading rooms that were almost impossible to gain access to. Fast forward to today, and Warren is still empowering his students with the knowledge to color through his own endeavor, the International Colorist Academy. Partnering with Kevin Shaw, they created a worldwide training program for colorists, by colorists.

On this podcast, we talk about:

• His start in telecine and how it formed his grading style
• How daVinci systems have changed over the years
• Features that are still lacking from color grading systems
• Doing visual effects work as part of the color grade
• How color grading panels speed up his work
• Impressions of the new Blackmagic Mini and Micro Resolve Panels
• The differences in workflow with commercial, television and feature work
• Keeping your clients happy and the session flowing
• Making and keeping solid connections with DPs
• Why the Colorist Society International is an important part of our community
• His perspective on the reduced price of grading systems and its effect on the post production industry

 

Warren Eagles Website

Warren Eagles IMDB

Twitter 

LinkedIn

International Colorist Academy

 

This episode is sponsored by:

Colorist Society International

For more information on how you can become a member, visit, www.coloristsociety.com.

and by:

Mixinglight.com

Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

This episode is sponsored by Colorist Society International and Mixinglight.com.

On this episode of the Colorist Podcast, I talk with Peter Doyle, Senior Colorist at Technicolor London.

Peter has worked on some of the most popular films of all time like the Lord of the Rings Trilogy, Harry Potter films, and The Matrix. He has collaborated with major directors, Tim Burton, The Coen Brothers, and The Wachowski Siblings. 

Peter helped pioneer the digital intermediate process we use today, working with a groundbreaking software package then known as “Colossus.” This would later evolve into Autodesk Lustre, and is used on many big budget films today.

The look of his projects can be vastly different. From the hyper saturated look of Charlie and The Chocolate Factory, to the bleak and faded style of Inside Llewyn Davis, Peter is constantly pushing the boundaries of color grading.

On the podcast, we talk about:

• Making the transition from visual effects to color
• How directors and DPs have shaped the way that he grades
• Grading a film “wrong” before it can achieve the right look
• Working on films from completely opposite genres
• Pushing the creative and technical limits of color
• Making color work look invisible
• Different challenges of working in broadcast television
• Using Baselight for color grading
• Advantages of knowing the technical background of color science
• Using a keyboard instead of a grading panel
• How ACES works in his grading pipeline
• HDR and how it can be used effectively to enhance the story

Download full transcript 

Peter Doyle at Technicolor London 

Peter Doyle IMDB

  

This episode is sponsored by:

Colorist Society International

For more information on how you can become a member, visit, www.coloristsociety.com.

and by:

Mixinglight.com

Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

 

On this episode of The Colorist Podcast, I talk with veteran film color timer, Dale Grahn. Long before films were colored using computers, Dale color timed movies, using the only technology available at the time: printer points and printer lights. 

He is best known for pioneering the bleach bypass look of Saving Private Ryan, and he’s also worked on other huge films like Gladiator, Minority Report, The Ring, Die Hard, and Bram Stoker’s Dracula. 

His work included animated films like The Lion King, Aladdin, Toy Story, and Beauty and the Beast, which required a different workflow that many timers avoided altogether.

He’s collaborated with the biggest names in the industry like Steven Spielberg and Joel Silver. Currently, he is a fellow of the Colorist Society International and has directed his energy towards recognition of colorists worldwide.

On the podcast, we talk about:

• When he got his start as a color timer
• How timing differs from color grading or telecine
• Gaining the opportunity to time is first major film, Predator
• The bleach bypass look and how it happened almost by mistake
• Director's and Cinematographer's role in his work
• Why animated films required a different approach
• Creating looks with the limited tools available in color timing
• Why printer points are still used today
• Working without seeing the immediate results of color changes
• How the Koji Color film emulation LUTs were developed
• ACES and getting everything to live in one color space
• His role in Colorist Society International, and why it’s important for colorists today
• His advice for colorists coming up today

 

Dale Grahn, IMDB Page 

 

Koji Color

 

Dale Grahn Color for iPad

 

Mixinglight Review of Koji Color

 

Cannibal Women in the Avocado Jungle of Death ;) 

 

This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

On this episode of Colorist Podcast, I have a conversation with Ayumi Ashley. She is the co-founder of Mission Film and Design (MFDSF) in San Francisco, California. It's a boutique color, sound, and VFX facility, focusing mainly on commercials, music videos, and short films. She has completed work for North Face, Skyy Vodka, and Ben & Jerry's. Additionally, Silicon Valley clients like Adobe, Pinterest, and Square have also finished their work with her.

Ayumi started working as a freelance colorist while still attending college. Apple Color and the reduced price of DaVinci Resolve helped her hone her skills and enter the ranks of working colorists quickly. The combination of affordable grading platforms, higher demand for colorists, and minimal competition in her area, helped her and founding partner Matt Notaro start and run her own finishing company.

In this interview, we talk about:

• How she got started as a colorist • Why the 5D mk ii had such a profound impact in her market • The low cost of entry for color tools: is it a good thing? • Working in San Francisco and why there aren't many colorists there • Helping clients understand why they need a colorist • Running a facility and prioritizing the budget accordingly • Making her clients feel pampered and comfortable • Listening and performing live for your clients • How she uses remote reviews with Frame IO • Handing off her work to other colorists • Using Full DaVinci panels verses using the Tangent Element • How to draw on inspiration when your sessions are only three hours long • Working with software other than DaVinci Resolve

Mission Film and Design  http://mfdsf.com/

Personal Page http://www.ayumiashley.com/

Twitter https://twitter.com/ayumash

Instagram https://www.instagram.com/aayummy/

This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

Rob Bessette joins me on this episode of the Colorist Podcast. Rob is a senior colorist at Finish Boston and specializes in coloring commercials. With over 11 years of experience, Rob has had the opportunity to color spots for Toyota, Coca Cola, Sam Adams, Subway, Chili’s, Dunkin’ Doughnuts, and many others. 

 

Rob became a colorist though a more traditional path. He worked his way up from the ground level while working at night, and then mentored with a seasoned colorist. For several years, he had the opportunity to learn telecine and graded a lot of film.

 

I first met Rob while he was working the Blackmagic Design booth at NAB. He had the experience of hearing people’s opinions from all over the world while demoing the latest software that he had to learn at a breakneck pace.

We talk about:

• What drew him to working in commercials 
• How working with great directors and directors of photography shapes the way he grades
• Strategies for working with food that will make you hungry
• Opinions on working with the full panels and what he would change about them
• Strategies for creating a great demo reel
• How he uses social media for marketing and networking
• Working the Blackmagic booth at NAB and learning the software in one day
• Why the inexpensive price of entry for color grading is good for the industry
• Colorist’s work that he admires
• Software other than Resolve he would use to color commercials

 

Rob Bessette - Colorist Website http://robbessette.com

Finish Boston http://www.finishboston.com

Twitter http://www.twitter.com/robsbessette

Instagram http://www.instagram.com/robsbessette

 

This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

In this episode, I talk with Terence Curren, a Colorist and Online Editor in Los Angeles. He’s known for unscripted television shows like Project Runway, True Life, Ghost Hunters, and many others. 

He got his start at the well known post facility, Matchframe Video, as employee number one. At Matchframe, he was one of the first editors in LA to work with Avid Media Composer, Symphony, and DS. And to this day, he still colors and finishes his shows on a Symphony. 

In 2002, after 16 years at Matchframe, he moved on to starting his own company, Alphadogs. Many LA post production professionals are familiar with Alphadogs from their monthly meet ups called The Editor’s Lounge. It’s been a hub for people to learn about new technologies, directly ask vendors questions, and socialize with other pros. It’s been a great resource for over 13 years and I’ve personally learned a ton from attending them.

In this interview, we talk about:

• How his start in editing affects his approach to color 
• Running his own business from a colorist’s perspective
• The commoditization of post production gear and how it changed the business 
• How and why the monthly Editor’s lounge started 
• Using an Avid in color workflows and why they can save time 
• A history lesson on the Avid DS and why it was killed
• His thoughts on groups for colorists and how they can bring change
• Baselight as a plugin within Avid 
• Using the keyboard and Wacom tablet instead of a panel

 

Alphadogs

http://www.alphadogs.tv

 

Editor’s Lounge

http://www.editorslounge.com

 

IMDB

http://www.imdb.com/name/nm0192914/?ref_=fn_al_nm_1

 

Twitter

https://twitter.com/terencecurren

 

This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

 

In this episode, I talk with Mark Todd Osborne, a colorist in Los Angeles with over 18 years of experience. He has worked on films like Pirates of the Caribbean: At Worlds End, Bad Boys II, Hugo, Need for Speed, as well as many commercials and music videos.

Mark got his start at Company 3 and spent 11 years there working with top colorists Stefan Sonnefeld, Dave Hussey, and Mike Pethel. 

He also spent some time at Cameron | Pace, working on stereoscopic projects on Quantel Pablo.

What’s most impressive about Mark’s career is ability to work in many different genres. Working in commercials, television, cinema, music videos, and even video games has been part of his successful career. 

In this interview, we talk about:

 

• The challenges and benefits of being a freelance colorist
• Using social media and how it impacts getting booked on jobs
• Demo reels and the strategy behind them
• Other colorist’s work that has inspired him
• Working on your own system vs working at a facility
• How grading on other systems can effect how you color
• Doing VFX and roto during color sessions
• Advice for new colorists
• Where the business of color grading is going next

Mark Todd Osborne’s Website

https://mtocolordata.com

 

IMDB Page

http://www.imdb.com/name/nm2165104/?ref_=fn_al_nm_1

 

Twitter

https://twitter.com/marktoddosborne

 

This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.