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Rob Lingelbach said;
>About ten days ago I had the distinction of being a judge for the
>Final Monitor Awards in Color Correction here in Los Angeles. I was
>joined by Bob Festa, Mark Wilkens (spelling?), Ted Rosenfeld, and
>another colorist whose name I missed.
The only reason that we were judges this year is because our entries did'nt
make the finals.
>I appreciate the honor of being chosen to judge, but as the entries
>proceeded, I was scratching my head a bit at the criteria, or lack
>thereof: how the heck do you judge color correction? Of the 6 entries
>in the Feature Film category, there were three animated films entered.
>How the heck do I differentiate between Snow White and Lion King?
Rob, you forgot to mention that of the six entries, three were live action
and three were animation. Judging between different animated films is one
thing, how about animation vs. live action. Putting Forest Gump up against
Snow White just does'nt seem to fit any categorical judging criteria.
>I can see judging editing, direction, lighting, but color
>correction? How do we know what went on in the session? How do we
>know what material the colorist had to work with?
Here's the hot tip. Lets dispense with the current system and say that one
piece of cut negative is sent to all prospective applicants. All colorists
work on the same piece of film and record to a composite format. A single
screen split is arranged so that transfers are seen up against each other.
Apples vs. apples. It seems simple enough to me. One colorist's
interpretation against the other.
Bob Festa Festa at earthlink.net
Director of Telecine Festa at hollydig.com
6690 Sunset Blvd.
Hollywood, California 90028
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