[Tig] compositors doing grading

Tue Aug 8 22:42:32 PDT 2006

Hi Rahul
Let me guess! You're a compositor:-)
Cheers
--- Rahul Purav <rpurav at hotmail.com> wrote:

> TIG is supported by subscribers.
> see http://tig.colorist.org for 
> donation button interface.  Thanks to
> Scott Klein, Glenn Chan, Hakan Toptas,
> and Roberta Thomas.
> --
> 
>  
> Hey guys,
> 
> Re Robs quote on compositors,
> 
> It seems very unlikely that we in our business have
> university trained 
> colorist working on the stations instead they come
> in from various fields of 
> the industry or at times rather very much by
> accident specially like tape 
> loaders, runners etc..or some one looking for a job
> in films.
> 
> So having some one trained on grading stations as a
> promotion need not mean 
> that he or she is a colorist, instead one has to
> appreciate that a 
> individual creative and understanding of color is in
> natural born skill and 
> to top it off... very few of them have it.
> 
> Compositors are a breed of highly skilled artists
> who actually align various 
> sources of images to one and blend them for a great
> looking image and having 
> the knowledge of digital processing plus editing and
> story telling in their 
> images...  so in reality they have a better chance
> of knowing colors 
> provided they look into films in totality. As Cem
> mentioned they are not 
> only fixers of flaws but real creative people who
> have graduated in digital 
> imaging as compared to some telecine or lab colorist
> getting into Digital 
> Grading relm. Yes compositors will eventually make
> it to digital grading 
> very soon agreeing with Rob every one needs exposure
> and training and 
> understanding of medium and thats a long process, it
> will happen globally an 
> am certian that real talanted compositors will excel
> in grading having a 
> strong imaging background.
> 
> 
> Regards
> Rahul P
> 
> 
> 
> 
> >From: Cem Ozkilicci <cemoz101 at yahoo.com>
> >To: tig at colorist.org
> >Subject: Re: [Tig] compositors doing grading
> >Date: Mon, 7 Aug 2006 03:31:04 -0700 (PDT)
> >
> >the TIG is supported by subscribers.
> >see http://tig.colorist.org for
> >donation button interface.  Thanks to
> >Scott Klein, Glenn Chan, and Hakan Toptas.
> >--
> >
> >
> >Hey guys,
> >
> >being an ex-flame artist I must say that as Rob
> >pointed out, most compositors feel the need to
> correct
> >aspects of a film rather than grade. This is mostly
> >because of the fact that compositors are usually
> not
> >given the chance to color correct or grade(unless
> >something drastic seeds fixing). They are usually
> used
> >as people to fix flaws and remove wires and rigs
> than
> >give films their look. So therefore the notion of
> >fixing something comes before the notion of
> grading.
> >
> >I remember from my previous days were I had come up
> >with an interesting look as a flame artist and the
> >director I was working with said something along
> the
> >lines of "why are you trying to establish a look ?
> I
> >know the one we have isn't great but we dont have
> time
> >to come up with a new one" ... so actually from
> that
> >day on I sort of decided to go into grading and
> felt
> >that was or would be my stronger side.
> >
> >But now coming to a time where compositing and
> grading
> >and compositors and colorists slowly merge it's
> >interesting to see the different approaches and
> >mentalities colorists and compositors adopt.
> >
> >Those are my two cents ...
> >
> >Cem Ozkilicci
> >Colorist/House Engineer
> >Compugraf / Istanbul
> >
> >
> >
> >--- Rob Lingelbach <rob at colorist.org> wrote:
> >
> > > the TIG is supported by subscribers.
> > > see http://tig.colorist.org for
> > > donation button interface.  Thanks to
> > > Scott Klein, Glenn Chan, and Hakan Toptas.
> > > --
> > >
> > >
> > > Fri Aug 4 2006
> > >
> > > I have been with compositors and other
> editing/3d/2d
> > > artists for the
> > > last week and have come to the nonpremature
> > > conclusion that they
> > > have trouble in working with DoPs and Directors
> for
> > > color
> > > correction.
> > > I suppose I should have known this, but these
> folks
> > > need some help
> > > in the
> > > concept of grading.  Let it be known that this
> was
> > > not at the
> > > facility where
> > > I currently work.
> > >
> > > It seems the very first thing a comp artist
> wants to
> > > do when presented
> > > with a raw scan is go in and construct a window
> to
> > > correct
> > > a flaw in the image.  There isn't a constructive
> > > dialog with the DoP
> > > about color, feel, look, presentation,
> continuity,
> > > etc.   It almost
> > > seems
> > > like a lost cause from the beginning, but I can
> also
> > > see how
> > > hopefully, the
> > > more astute among the compostiors would
> understand
> > > about color and
> > > density.
> > > But many don't have any idea.  In other words, a
> > > compositor
> > > approaches the session
> > > as if it's ready to be fixed, not ready to be
> > > orchestrated.
> > >
> > > Regarding prints from the labs: there are
> certain
> > > tendencies the lab
> > > prints have that the DI shows to poor advantage.
> > > Example 1,2,3:
> > > I've been to 3 labs with Truelight LUTs for each
> > > one, printing at
> > > each lab.  Every print looks (relatively, with
> some
> > > color problems) the
> > > same, except that *there is way too much
> contrast in
> > > the image*.
> > > Now we can assume that going "down a generation"
> is
> > > going to lose
> > > detail.
> > >
> > > But:
> > > Take the BKSTS chart for grayscale, res, color
> > > chips, and
> > > resolution.   Ingest it into smoke. flame,
> whatever.
> > >  Output it for
> > > scan, record frames of neg.  Do test prints as
> 10
> > > feet loops to
> > > ensure lineup with the projectors you know best
> in
> 
=== message truncated ===

Dan Mitre
Senior Colorist
Kodak Cinelabs Dubai
Office 20, Building 9, Phase 3, Dubai Media City,
Dubai,U.A.E.
P.O. Box 502383
Phone: +971 4 3671286
Fax:     +971 4 3911929

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