The COVID-19 Pandemic has thrown the entire world into disarray at a time when things were looking very positive for many of us in the film and video post and production industry.
Over the years I’ve periodically dipped my toe into the waters of discussing the “business” of filmmaking; a topic I am, so far at least, fairly lousy at (at least from the perspective of profit).
In cinematography, the first image doesn’t have to be perfect, it just has to be the starting point, and it is moving in time until you reach the end. So when you see an image through Baselight, you have to think about what you really want to achieve.
Color grading in the film and video worlds has always been a heavily technical occupation. It always will be, because a major part of your responsibility is ensuring that your project meets the precise standards of broadcast and distribution companies.
At NAB in April 2016 Jim Wicks and Kevin Shaw publicly announced the launch of the Colorist Society International as the first organization to represent professional colorists as a unified voice for the film and digital entertainment industry.