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psychology of correction
I had a client today sit with me for a transfer of 16mm footage for a
Knott's Berry Farm commercial. Nothing extraordinary.
I've found I'm fascinated by the psychology of client<->colorist
interchange over the years... and have been interested in improving my
approach. I tend to be a little too "honest" sometimes.
This client asked me for more red. Now, the client is a "control"
type, other colorists probably know what I mean: no matter how hard I
try to "groove" myself into his preferences (i.e. after a few scenes,
he shouldn't have to direct me too much, I know what he likes), he has
something to say about how to improve the shot. (Yes, there are other
agency/production people in the room.)
The shot is already superwarm, and vector red objects almost
superlegal; my brain says "more RED? what the?" and in the past
(depending on mood) I might have said, NO. I can't put any more red
in, and it's very warm already.
These days I'm trying to win a few more clients, so I said today "mmm
hmmm. warmer, hmmm." and I just biased the gains infinitesimally
toward magenta, as a way of doing *something*, so that I appear
helpful. And he liked it, though what I added wasn't red.
So my advice to myself is, with those clients who wish to exert firm
control: Don't take the client literally, do something to please them,
offer advice but don't appear to refuse them, and though they want
control, give them only the impression that they are, while trying to
do what is best for the film. Add this to the blurred semantics of
the average telecine session and you have the ability to do anything
Rob Lingelbach KB6CUN | 2660 Hollyridge Dr LA CA 90068 213 464 6266 (voice)
rob at xyzoom.alegria.com | "I care not much for a man's religion whose dog or
rob at sun.alegria.com | cat are not the better for it." --Abraham Lincoln