Sponsored by:
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
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
Peter Doyle at Technicolor London
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
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.