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Re: Relationships with DP's

	Hi there, a nice subject, to tell you the truth, light bulbs and 3 
lines Vitc are not my cup of tea although it can be useful, I always 
prefer to discuss about the philosophy of colorgrading. A few months 
ago I worked with a director and a DP who had done  telecine in an 
eastern country, the director is always very concerned about 
colorgrading and gets involved very much into that, to a point that 
the colorist thought the director was the DP and vice versa, after a 
few hours the director got fed up and told the DP "I can't take it 
anymore, it takes forever to do the most simple things, please take 
over and finish it, I am leaving" Then the colorist, to the DP, " you 
know the job your DP has done is crap! Look, I cant do anything!" The 
DP:"Oh really ? Well I think he was very tired, do what you can we 
will do a final grading in Paris anyway"!!! A good one don't you 
think ?	
	Since I have moved here, I rarely get a chance to see DPs, 
while in France, I used to work with them all the time, directors, 
agencies want him to be at telecine, when the DP does not agree with 
the place where telecine is done he says "if you do it there, it is 
without me" they get worried and try to come to an arrangement. In 
the UK, is it that DPs don't care, are they not considered, have they 
given up thinking all of this is out of control ? What exactly ? 
	I have had a very painful experience recently here: I worked on a  
selected neg made of Kodak 500 vision and Primetime mixed all 
together without knowing it, I had a lot of difficulties to match 
all of that, none of my settings worked twice, and these settings 
were radically different, on top of this, the images were very 
coloful, and  like usually,  no chart. When everything was 
finished, finally the DP comes in saying "so it was today ? nobody 
tells me anything!"
	Any comments ? Is it the same in the US ?

	Regards, JC.


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