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Re: what's so hard?
- To: KA2IQB at aol.com, multiple recipients of <telecine at sun.alegria.com>
- Subject: Re: what's so hard?
- From: rob at sun.alegria.com (Rob Lingelbach)
- Date: Wed, 14 May 1997 14:09:20 -0700
- In-Reply-To: KA2IQB at aol.com "Re: what's so hard?" (May 14, 15:29)
- Old-Return-Path: <rob>
- Organization: Altruistic Intentions, Hollywood, CA
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- Reply-To: Rob Lingelbach <rob at alegria.com>
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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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