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Colorist Podcast

The top colorists in film, television, and music videos are interviewed in this podcast, hosted by Josh Petok.
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Sep 14, 2017

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.

Aug 18, 2017

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.

Jul 14, 2017

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.

Jun 19, 2017

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.

 

May 15, 2017

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.

 

Apr 14, 2017

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.

Mar 21, 2017

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/

 

Mar 15, 2017

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.

Feb 14, 2017

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.

 

Jan 17, 2017

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.

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