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Re: what's so hard?

On May 14, 15:29, KA2IQB at aol.com wrote:
} Subject: Re: what's so hard?

> But the point I was trying to bring forth is
> that people-skills are just as important as art-skills, and maybe a little
> more so than technical skills, when it comes to being a successful colorist.

I put it at roughly 60% people, 20% art, and 20% technical; 100%

> what would you do if the clients said they didn't like it, it wasn't

> (a) Work with the client to try to find out what they **are** looking for,
> and then do your best to create it, even if the results look inferior to you;

great question Chris.  

my answer of course is (a), but with the added value that I would do
everything in my power to 1) understand how and why they think their
vision is better/different than mine, and 2) depart as little as
possible from an 'ideal' color perspective while having them believe
they are driving the session.  

Many times, however, I have had to realize that it is certainly not my
place to have strong, immutable feelings about the color of the film
when I am approaching this for the first time and they've been living
with the project for weeks.


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 Molly McCourt, Wayne Wagner, Peter Balfour, & Tim Bond
for support of the TIG in 1997
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