Info

Colorist Podcast

The top colorists in film, television, and music videos are interviewed in this podcast, hosted by Josh Petok.
RSS Feed Subscribe in Apple Podcasts
2018
February
January


2017
December
November
October
September
August
July
June
May
April
March
February
January


2016
December
November
October
September
August
July
June


All Episodes
Archives
Now displaying: 2018

Sponsored by:

     

Feb 16, 2018

This episode is sponsored by Colorist Society International and Mixinglight.com.

Senior Production Engineer and Colorist at Dolby, Shane Mario Ruggieri, CSI, joins me on this episode of the colorist podcast.

In San Francisco during the 2000’s, Shane came up through the ranks, working in all aspects of production and post production. From the beginning of Final Cut Pro, and later Apple Color, he cut his teeth on the early stages of color grading on the Mac. He’s colored for features, commercial, corporate, and entertainment industries. His clients have included Apple, Sony, Netflix, Green Day, Carrie Underwood, and Universal Studios. 

Now working at Dolby, Shane has specialized and is one of a handful of colorists that has been working with Dolby Vision HDR since 2010. He co-authored “A Perceptual EOTF for Extended Dynamic Range Imager” and authored “Breaking Out of the 100-nit Box: A Colorist’s View of Grading HDR”, which were presented at SMPTE.

In this podcast, we talk about:

  • How starting with SDR prepared him for working with HDR
  • Working with Dolby Vision in Resolve
  • Comparing HDR10 and Dolby Vision
  • Grading tools in HDR and how they will change in the future
  • Advantages of working with HDR as a starting point
  • Workflow considerations for working with HDR versus SDR
  • Using ACES and color management with HDR
  • How HDR will change art direction, makeup, and lighting on the production side
  • Using HDR subtlety and keeping your work invisible
  • Why images over 1000 nits are more compelling and powerful

 

Shane Mario Ruggieri, Homepage

Email

IMDB

Language of HDR

 

This episode is sponsored by:

Colorist Society International

For more information on how you can become a member, visit, https://coloristsociety.com/Join-the-Colorist-Society

 

Mixinglight.com

Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

Jan 16, 2018

This episode is sponsored by Colorist Society International and Mixinglight.com.

On this episode of the colorist podcast, I talk with Ian Vertovec, Co-Founder, and Senior Colorist at Light Iron. 

Ian has colored major films “The Social Network,” “The Girl with the Dragon Tattoo,” and “Ender’s Game.” And more recently, he has colored the TV shows “Baskets” for FX and “Glow” on Netflix. 

Originally from Chicago, Ian focused on photography, then moved on to digital compositing. He later co-founded two post facilities in Los Angeles: Plaster City, then Light Iron. Out of necessity, he moved on to color at his company. He found his combination of photography and compositing matched perfectly for a career as a colorist.

In this podcast, we talk about:

  • Coloring David Fincher films and working with extremely dark images
  • The challenges of working on VFX heavy projects
  • Making HDR look both cinematic and realistic
  • Advantages of working with high-end systems like Quantel Pablo
  • The difference between working on TV and films
  • How experience with compositing served him as a colorist
  • Bringing life to images using texture
  • Using film emulation LUTs in his workflow
  • Comparing different cameras as a colorist
  • Using ACES in a color managed workflow
  • Keeping grades simple, clean, and efficient

Ian Vertovec - IMDb

Light Iron

 

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.

 

1