Colorist Podcast: Recent Episodes

Josh Petok

The top colorists in film, television, and music videos are interviewed in this podcast, hosted by Josh Petok.

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

On this special episode of the Colorist Podcast, we discuss the details of NAB 2018 from a colorist’s perspective. Joining me is my long time friend and Coloristos podcast partner, Jason Myres.

Back in 2012, Jason and co-hosted a podcast called “The Coloristos” with our friend Juan Salvo. Every year, we were excited about the announcements that came with every NAB. This one proved to be just as interesting and surprising as years past.

Jason is also known for creating one of the best places for colorists to interact on the internet, liftgammagain.com. It’s the hub for colorists around the world to discuss software, hardware, inspiration, and techniques for colorists. Jason’s experience spans a wide variety of software and hardware platforms, which gives him a broad experience to draw on.

In this podcast, we talk about:

Blackmagic Design’s NAB announcements and how they effect colorists
The addition of Fusion to DaVinci Resolve
The IMF export spec and how it’s been adopted in different software
Improvements in Flame and Lustre 2019
BLG grades inside of Flame
Filmlight Baselight version 5 release across their entire platform
The state of color managed workflows and ACES
New grading monitors for NAB
Coloring in HDR and VR

Jason Myres Homepage

Coloristos Podcast

This episode is sponsored by:

Colorist Society International

For more information on how you can become a member, visit, https://coloristsociety.com/Join-the-Colorist-Society.

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 Color Scientist and Trainer, Dado Valentic.

Recently, Dado’s presentation about Artificial Intelligence and Color Grading has been making it’s way through the internet. In this YouTube video, he poses a question: Can we make the colorist’s job easier by using machine learning to match shots? This is the basis for a new plug-in he is developing for DaVinci Resolve called, “Joi”

Originally from Yugoslavia, Dado’s career has spanned from working at corporations like Apple and Sony, to running his own post production facility, “MyTherapy.” There he worked on a massive amount of projects in TV, film and commercials. In addition, he is a trainer for the International Colori st Academy and Colour.Training. Currently, he’s decided to put his full focus on developing new software with his latest company “Colourlab”

In this podcast, we talk about:

Starting at Apple and how he first became exposed to color grading
Machine learning and how it relates to color grading
Working with HDR in a color managed workflow
Being involved early in the filmmaking process
How teaching has increased his skills as a colorist
The tools that haven’t been created yet for the colorist
Creating the “look” before the balance grade
Running a facility versus being a colorist
Why the CSI is an important group for colorists

AI & Machine Learning to Colour Grading

http://www.dadovalentic.com

https://www.colour.training

http://www.mytherapy.tv

http://colourlab.co

This episode is sponsored by:

Colorist Society International

For more information on how you can become a member, visit, https://coloristsociety.com/Join-the-Colorist-Society.

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.

Senior Production Engineer and Colorist at Dolby, Shane Mario Ruggieri, CSI, joins me on this episode of the colorist podcast.

In San Francisco during the 2000’s, Shane came up through the ranks, working in all aspects of production and post production. From the beginning of Final Cut Pro, and later Apple Color, he cut his teeth on the early stages of color grading on the Mac. He’s colored for features, commercial, corporate, and entertainment industries. His clients have included Apple, Sony, Netflix, Green Day, Carrie Underwood, and Universal Studios.

Now working at Dolby, Shane has specialized and is one of a handful of colorists that has been working with Dolby Vision HDR since 2010. He co-authored “A Perceptual EOTF for Extended Dynamic Range Imager” and authored “Breaking Out of the 100-nit Box: A Colorist’s View of Grading HDR”, which were presented at SMPTE.

In this podcast, we talk about:

How starting with SDR prepared him for working with HDR
Working with Dolby Vision in Resolve
Comparing HDR10 and Dolby Vision
Grading tools in HDR and how they will change in the future
Advantages of working with HDR as a starting point
Workflow considerations for working with HDR versus SDR
Using ACES and color management with HDR
How HDR will change art direction, makeup, and lighting on the production side
Using HDR subtlety and keeping your work invisible
Why images over 1000 nits are more compelling and powerful

Shane Mario Ruggieri, Homepage

Email

IMDB

Language of HDR

This episode is sponsored by:

Colorist Society International

For more information on how you can become a member, visit, https://coloristsociety.com/Join-the-Colorist-Society

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 Ian Vertovec, Co-Founder, and Senior Colorist at Light Iron.

Ian has colored major films “The Social Network,” “The Girl with the Dragon Tattoo,” and “Ender’s Game.” And more recently, he has colored the TV shows “Baskets” for FX and “Glow” on Netflix.

Originally from Chicago, Ian focused on photography, then moved on to digital compositing. He later co-founded two post facilities in Los Angeles: Plaster City, then Light Iron. Out of necessity, he moved on to color at his company. He found his combination of photography and compositing matched perfectly for a career as a colorist.

In this podcast, we talk about:

Coloring David Fincher films and working with extremely dark images
The challenges of working on VFX heavy projects
Making HDR look both cinematic and realistic
Advantages of working with high-end systems like Quantel Pablo
The difference between working on TV and films
How experience with compositing served him as a colorist
Bringing life to images using texture
Using film emulation LUTs in his workflow
Comparing different cameras as a colorist
Using ACES in a color managed workflow
Keeping grades simple, clean, and efficient

Ian Vertovec - IMDb

Light Iron

This episode is sponsored by:

Colorist Society International

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

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 take a look back at 2017. So much has happened this past year in the world of the colorist. Blackmagic unveiled two new affordable panels, as well as releasing Resolve 14. Filmlight continues to innovate, and shipped version 5 of Baselight. UHD and HDR are gaining wide adoption, with new content being available every day.

I recently had the opportunity to go back and review every podcast from this past year. I couldn’t believe all the talented people that made time to sit and talk with me. Colorists that worked on films from Lord of the Rings to Saving Private Ryan, TV shows NCIS Los Angeles and Planet Earth II, and commercials for Coca-Cola and Levi’s. We delved into many different topics, like collaborating with DP’s, working in foreign countries, and emerging technologies like HDR.

In this podcast, I’ve included some of my favorite insights from 2017:

Peter Doyle: Working on films that vary visually and conceptually
Dave Abrams: HDR and it’s effect on calibration
Warren Eagles: Film stocks and how they relate to digital cameras today
Bob Festa: Working with clients and getting them to come back for more
Alexis Van Hurkman: Techniques for working with HDR
Dale Grahn: Developing looks for The Ring and Saving Private Ryan
Juan Cabrera: Collaborating with Directors and DP’s in the suite
Adam Inglis: Working with nature footage in Planet Earth II
Patrick Woodard: Being flexible and working efficiently in television
Vanessa Taylor: Working in a foreign country and overcoming language barriers

This episode is sponsored by:

Colorist Society International

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

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 Patrick Woodard, Lead Colorist at Digital Film Tree.

Patrick is best known for his color work on episodic TV shows like NCIS: Los Angeles, UNreal, Weeds, and Everybody Hates Chris. He’s worked on programs that air on the major networks, like CBS, NBC, and FOX, as well as the pay networks HBO and Showtime. In addition to working in TV, he’s also completed spots for Oakley, DC Shoes, and Fox Racing.

Patrick built his foundation in photography, studying at the Brooks Institute of Photography. Combining this background with an internship at Digital Film Tree, set him in the direction of becoming a colorist. Moving up within the company gave him the opportunity to holistically understand the file-based workflow and the ways that it could be fast and flexible.

In this podcast, we talk about:

How his background in photography served him as a colorist
Challenges of working on a big budget TV shows
The effect of streaming networks like Netflix and Hulu on television colorists
Coloring for short form versus long form
Collaborating with DPs and showrunners via remote sessions
New technologies like 4K and HDR in television color
ACES and other color-managed workflows
Coloring for different TV networks

PatWoodard.com

Digital Film Tree

Twitter

Instagram

IMDB

This episode is sponsored by:

Colorist Society International

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

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.

Senior Colorist Bob Festa joins me on this episode of the Colorist Podcast.

Bob Festa has colored some of the most iconic music videos and national commercials. Companies like Coca-Cola, Levi’s, American Express, McDonalds, and IBM come back to his suite again and again. In a career that spans over 30 years, he has completed over 20,000 spots. He continues to color today, working on the shows “The Runaways” and “The Last Ship.” He is the recipient of daVinci’s “Master Colorist Award” and “Commercial Colorist of the Year.”

Bob has held positions as a Senior Colorist at Company 3, R!OT Santa Monica, Hollywood Digital, and Encore. And he also ran his own facility, New Hat. He’s worked with daVinci systems since it’s start, and even helped drive some of the features we use today.

Bob continues to be a mentor to aspiring colorists. He shares his skills, experience, and knowledge to the next generation of artists.

In this podcast, we talk about:

How to avoid burnout and have a long career as a colorist
Comparing long and short form grading
The inspiration of film and why some colorists still use printer points
The most abused technique in color grading
The Festa “Grade once - show many” concept
New technologies like HDR and how colorists adapt to them
Coming up with a lot of ideas in a high-pressure environment
Colorist’s role in new business development
How the declining price of color systems affect colorists today
Collaborating with Directors and DPs

Vimeo

IMDB

Instagram

Twitter

This episode is sponsored by:

Colorist Society International

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

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 continue the conversation with Director, Writer, and Colorist, Alexis Van Hurkman.

In the last episode, I talked with Alexis about how he got his start in post, his experience at Apple, and starting his own boutique grading facility. There was so much great conversation in the podcast that I needed to break it into two separate shows.

In this episode, we dive deeper into the tech side of grading. In the last five years, there’s been dramatic changes in color technology. High Dynamic Range (HDR) is making it’s way into the mainstream, and color managed workflows are improving with each day. And with that “bigger box of crayons,” we have more options when creating looks. The creative and the technical elements in grading are closely linked.

In part two, we discuss:

The “Color Correction Look Book” and how to create subtle grades
When to push a look further then your comfort level
Grading HDR and the “hierarchy of highlights”
Will HDR change the way that colorists grade
Using ACES, Resolve Color Management, Truelight and other color management workflows
The Colorist Society and how it will benefit the community in the future

HDR, Resolve, and Creative Grading by Alexis

Alexis Van Hurkman Blog

Twitter

Facebook

LinkedIn

Ripple Training

Amazon: Titles by Alexis Van Hurkman

This episode is sponsored by:

Colorist Society International

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

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.

Director, writer, and colorist, Alexis Van Hurkman joins me on this episode of the Colorist Podcast.

There’s been many twists and turns in the career of Alexis Van Hurkman. He bounced around from audio, editorial, graphics, and visual effects. Ultimately, each of those steps in his journey contributed to his skills as a colorist. Along with grading his own projects, he’s finished programs for The History Channel, The Learning Channel, BBC Four, and WNET.

Many listeners will recognize Alexis’s book titles, “The Color Correction Handbook” and “The Color Correction Look Book,” as well as the manuals for Apple Color, Final Cut Pro, and DaVinci Resolve. He’s also created several training titles with Ripple Training, featuring the newest features in Resolve.

This epic podcast was one of the longest I’ve recorded yet. So long, in fact, that I’ve decided to split it up into two separate episodes. There’s a ton of great info and I didn’t want to lose any of it.

In the first part, we talk about:

The complicated path in becoming a colorist
How writing increased his color knowledge and skills
How he ended up working at Apple
Working with and without a color control panel
How the Fairlight page effects colorists
Parallels between audio and color
Learning to work in a client driven environment
Visual Effects and how it contributes to a colorist’s skills
Starting his own one man boutique grading facility

Alexis Van Hurkman Blog

Twitter

Facebook

LinkedIn

Ripple Training

Amazon: Titles by Alexis Van Hurkman

This episode is sponsored by:

Colorist Society International

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

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 Juan Ignacio Cabrera, CSI. Juan has worked on the films Star Wars: The Force Awakens, Star Trek: Into Darkness, and Transformers: Age of Extinction. He’s been credited as a stereographer, colorist, compositor, and visual effects supervisor.

Juan got his start in the visual effects industry in Spain, starting his own business at 17 years old. He later moved to the US and was hired at Bad Robot and Paramount Pictures. Currently, he runs his own boutique facility, Lightbender Post, as Founder and Senior Colorist. His projects span everything from features, television, streaming, and video games.

On this podcast, we talk about:

Translating the skills of visual effects to color grading
Completing or enhancing vfx in a color application
Working with SGO Mistika as his color tool of choice
Improvements to color grading applications
Color managed workflows with ACES
HDR and when it will gain wide acceptance
Working in a big facility compared to running your own shop
Low budget versus high budget projects
Working with directors and DP’s
Essential business skills colorists should have
Why he joined the Colorist Society International
Advice for up and coming colorists

Lightbender Post

IMDB

This episode is sponsored by:

Colorist Society International

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

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.

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.

In this video, I give my impression of the new Blackmagic Design DaVinci Resolve Mini Panel. This new panel was released about 3 weeks ago and it's a significant change from their massive "Advanced" panel in size and in price. I found plenty of things to be excited about with the panel, as well as some things I was missing.

This review would not be possible without the support from Melrose Mac. If you're in the Los Angeles area, I'd highly recommend checking out a panel there.

http://www.melrosemac.com/

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.

In this episode of the Colorist Podcast, I talk with Gray Marshall, Associate Finishing Artist at Technicolor in Los Angeles. At Technicolor, Gray has worked on the films Bridge of Spies, The Revenant, Captain America: Civil War, Ant-Man, and many others.

But before making his way into color, Gray worked in many other parts of the industry. His roots were in the camera department of Star Trek: The Next Generation, and later went on to being a VFX supervisor and owning his own company, Gray Matter Post. Gray is probably best known for epic VFX shots like the building collapse at the end of Fight Club. Working in all these different departments has given him a unique perspective on the industry.

Some of the topics we cover:

When VFX should be done by a colorist
Working in Lustre and why colorists don’t use a panel with it
Should grading be completed before or after a visual effects shot
Stereoscopic challenges in grading
Comparing tools in color and VFX
The current state of ACES
The future of high end color grading, VR, and HDR

Twitter

https://twitter.com/graymarshall

IMDB Page

http://www.imdb.com/name/nm0550902/

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 The Colorist Podcast, I talk with Kevin Shaw, CSI. Kevin is the Senior Colorist at Final Frame, London and a 30 year veteran of the industry. His commercial credits include work for IKEA, Jaguar and Levis, as well as the movies “Monsters” and “Streetdance 3D.” In addition to his work as a colorist, Kevin is a founding member of the Colorist Society International, as well as a trainer for ICA.

We discuss some misconceptions about HDR and grading, doing VFX in the color bay, and why the Colorist Society was formed.

Twitter

http://twitter.com/kevscolor

Kevin Shaw’s Personal Website

http://www.finalcolor.com/

Final Frame, London

http://finalframepost.com

International Colorist Academy

http://icolorist.com

Colorist Society International (CSI)

http://coloristsociety.com

Joining me on the first episode of The Colorist Podcast is Lynette Dunsing. Lynette is the senior colorist at Cinelicious where she colors everything from commercials to documentaries. She has worked in numerous locations: Los Angeles, Detroit, Chicago and China. She has colored music videos for Nirvana and Metallica and television shows like Star Trek and Law and Order. We talk about where the industry has been and is going, the business of being a colorist, and how coloring is different is other countries.

Learn more about Lynette at her website www.bytemycolor.com and at www.cinelicious.tv.