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Re: what's so hard?
- To: telecine internet group <telecine at alegria.com>
- Subject: Re: what's so hard?
- From: "Rob Lingelbach" <rob at sun.alegria.com>
- Date: Thu, 8 May 1997 20:53:04 -0700
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- Organization: Altruistic Intentions, Hollywood, CA
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On May 8, 11:49, GPanaro at aol.com wrote:
} Subject: Re: what's so hard?
> 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
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
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
thanks to Ken Robinson, Steve Robinson, and Lynette Duensing
for support of the TIG in 1997
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