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Re: what's so hard?

On May 8, 11:49, GPanaro at aol.com wrote:
} Subject: Re: what's so hard?

> Nicole,
>      It's not necessarily a hard job, but rather a challenging one.  As a

Gino, and JC, thanks for providing some answers to Nicole's question.
Far from a 'joke' posting as some subscribers thought it might be, her
question allows me to step back and get a little perspective on the
the job.

I was hoping someone would help me out with some more explanations of
the colorist's job, so I can explain it better when I'm asked that
question at parties.  It's similar, in a way, to the request I get
sometimes from the less experienced client: "show me what's really on
the film".

I suppose the most important technical reason our job is difficult,
Nicole, is that film is one medium and video is another, and we
translate between these media; when this translation happens at a
suitably high level-- between, for example, 35mm motion picture
negative and component video-- the number of variables increases
exponentially.  Number of clients and opinions also increases.. I used
to think the colorist's job was mostly technical, but as I enter my
15th year of doing this I think more and more, that the people skills
are paramount, univesally speaking.


Rob Lingelbach          |  2660 Hollyridge Dr., Los Angeles, CA 90068
rob at alegria.com  	| "I care not much for a man's religion whose dog or 
rob at info.com		|  cat are not the better for it."  --Abraham Lincoln
rob at cloister.org		KB6CUN   http://www.alegria.com

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