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Re: what's so hard?


I would concur with my colleague Mr. Bernstein.  Colorists belong to a group
for whom the telecine technical process comes fairly easily.  Something in
the genetic soup gave us abilities in math and science.  I maintain that
anyone who can run Windows 95 can learn DaVinci in a week.  If the industry
didn't throw new technology at us every few months, we'd all be stark raving

What is far more slippery, and certainly not so easily learned, is artistry.
Some clients only see film transfer as an annoying stop light during the
otherwise "creative" filmmaking process.  Those are the fools we dread
suffering through sessions with.  Luckily for us, many other clients
consider what we do alchemy.  Those are the ones we hope for, who allow us
to create and collaborate.  After my nine years "in the chair" it's easy to
get jaded, but just two days ago I was given the opportunity to try
something so fresh and different that I actually got goosebumps.  

I believe there is endless potential for artistic growth in what we do.
Isn't it amazing that we work in an industry that spends so much R&D on not
only technical improvements, but on expanding the tools on our palette.
Many subscribers on this list are well into their second decade of film
transfer experience.  Yet even for them, every day is a new asthetic
challenge, and if you gave every one of them the same roll of film, you
would have as many different interpretations of the images as there are

What Rob said is true too.  One cannot survive in the marketplace without
people skills.  It is impossible to collaborate with a filmmaker if you
can't communicate with her.  Much of my job is interpreting vague comments
about style into specific technique.  Unfortunately, there aren't any
classes on this one.  I'm still figuring it out.

Good luck,

Sam Dlugach
EDS Digital Studios
Los Angeles

Theatre is life
      Film is art
         Television is furniture


thanks to Ken Robinson, Steve Robinson, and Lynette Duensing 
for support of the TIG in 1997
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