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Re: Colorists & DP's

Well the responses on this thread definitely highlight the frustrations that
are currently inherent with the process of dailies.  I've never met a dailies
colorist who wasn't interested in trying to satisfy the DP or the Director.
 Problems generally stem from a lack of communication or "better, faster,
Since colorists aren't necessarily clairvoyant, reference charts like the
Smethurst High-Light, Macbeth, and the Gamma and Density system (which looks
interesting because of the IRE references) will always be invaluable.

The lack of reference charts in dailies along with problems of inconsistent
use is THE problem.  Many DPs have told me that the "go,go,go" attitude on
some sets makes it difficult to use these tools properly.  I can't tell how
many times I've seen a grey scale show up after I've done the first three
takes of the scene.  Or a grey scale only at the head of the first roll and
not at the head of the next three.

An open dialogue with the DP is just as crucial.  I'd suggest that DPs show
their colorist previous examples of video dailies that they are happy with.
 But the critical step is to make the effort to establish a rapport.  I think
that Yuri should be applauded for making this effort.

On another note:

>The evidence  that these  issues became dangerously hot appeared at
Wednesday evening's meeting of SMPTE in Hollywood, when a young telecine
colorist told  one of the panelists who happened to be a DP, something to
the effect that,  "I , Joe Shmoe (how he called himself), will do your
dailies how I see it, and what are you going to do about it?"<

Gosh this sounds adversarial doesn't it?  I was sitting behind the young man
that brought this up and if I remember correctly - he wasn't talking about
dailies. He was asking a follow up question to the moderator's question of
whether the DP/Director or Producer should be  exercising control of the
image in perpetuity. I believe the colorist asked,"Well, what about the Shmoe
who gets your film on graveyard ten or fifteen years later who's going to
transfer the film the way he sees fit anyway - and by the way, I'm  asking
because Iím one of those Shmoes!  I don't think he was spouting ego as much
as saying that at some point his (the coloristís) judgment would have to be
trusted.  The response (Joel Cox of Malpaso Films)  was a rather vehement,
"Not with my film you don't!"  Unfortunately the meeting ended soon
afterwards and thus the question was never really discussed.

It's a valid question since at that point (ten or fifteen years later) the
original creators aren't necessarily available and then the subjective
decisions of the colorist are more crucial than ever.