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.
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.
My name is Alex V-H (changed to protect the innocent – Chris), and I recently was accepted as an intern here. This was written to point out where I think I have grown, and where I think I haven’t grown as much, and to reflect on my time here for the summer.
One of the questions that we get asked all of the time goes something like this “Okay, so the RED Epic shoots 5k, but my nephew/ grandmother/ kid in the mail room/ company we’ve been using since 1972 has an HD camera and he only charges $5 a day, and it’s only for the web so why should I change?”
Over the years I have written off 19 motorbikes, broken a whole load of bones, got stuck on the number 18 bus in Wembley and accidentally ended up in Euston at 3am, watched Stockport County lose every game for year after year, been propositioned by strange men and women in Amsterdam, and had strong warnings from many policemen and stronger ones from several members of various armed forces. But these were nothing in comparison to rebuilding our master web site in WordPress…