Sponsored by:
This episode is sponsored by Colorist Society International and Mixinglight.com.
On this special episode of the Colorist Podcast, we discuss the details of NAB 2018 from a colorist’s perspective. Joining me is my long time friend and Coloristos podcast partner, Jason Myres.
Back in 2012, Jason and co-hosted a podcast called “The Coloristos” with our friend Juan Salvo. Every year, we were excited about the announcements that came with every NAB. This one proved to be just as interesting and surprising as years past.
Jason is also known for creating one of the best places for colorists to interact on the internet, liftgammagain.com. It’s the hub for colorists around the world to discuss software, hardware, inspiration, and techniques for colorists. Jason’s experience spans a wide variety of software and hardware platforms, which gives him a broad experience to draw on.
In this podcast, we talk about:
- Blackmagic Design’s NAB announcements and how they effect colorists
- The addition of Fusion to DaVinci Resolve
- The IMF export spec and how it’s been adopted in different software
- Improvements in Flame and Lustre 2019
- BLG grades inside of Flame
- Filmlight Baselight version 5 release across their entire platform
- The state of color managed workflows and ACES
- New grading monitors for NAB
- Coloring in HDR and VR
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.
This episode is sponsored by Colorist Society International and Mixinglight.com.
On this episode of the colorist podcast, I talk with Color Scientist and Trainer, Dado Valentic.
Recently, Dado’s presentation about Artificial Intelligence and Color Grading has been making it’s way through the internet. In this YouTube video, he poses a question: Can we make the colorist’s job easier by using machine learning to match shots? This is the basis for a new plug-in he is developing for DaVinci Resolve called, “Joi”
Originally from Yugoslavia, Dado’s career has spanned from working at corporations like Apple and Sony, to running his own post production facility, “MyTherapy.” There he worked on a massive amount of projects in TV, film and commercials. In addition, he is a trainer for the International Colori st Academy and Colour.Training. Currently, he’s decided to put his full focus on developing new software with his latest company “Colourlab”
In this podcast, we talk about:
- Starting at Apple and how he first became exposed to color grading
- Machine learning and how it relates to color grading
- Working with HDR in a color managed workflow
- Being involved early in the filmmaking process
- How teaching has increased his skills as a colorist
- The tools that haven’t been created yet for the colorist
- Creating the “look” before the balance grade
- Running a facility versus being a colorist
- Why the CSI is an important group for colorists
AI & Machine Learning to Colour Grading
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.
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
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.
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
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.