My job as a colorist is to make your job easier and your project just a little bit better without breaking your budget or schedule, and that starts with helping your editor move your final timeline into my davinci resolve grading software, safely and painlessly…
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.