[Tig] deadlines

[janet at shootersinc.com]

Hi Steve,
In my experience there are many factors that go into how long a film or tape 
color session will take.  These include, who will attend the session: agency 
creative, DP, director, producer, agency's client, and what their expectations 
are for the session, how much of the "look" is being created in the film 
transfer.  Obviously how the film was shot, and how controlled the lighting was 
plays a big factor.  For long format, budget often plays a big roll and we 
often try to do what I call a "fit-fill".  In other words, if a client has a 
budget for X hours, I try to pace myself and give them the best results in that 
given amout of time. Years ago when I mostly transferred film straight from the 
lab, no EDL, our rule of thumb was about 1 hour per 1000 feet of 35mm film (11 
minutes), which works out to about 5 times running time.  Some rolls would go 
by much more quickly and some could take much longer depending on variables 
such as smoke, weather, and general lighting.  These days almost every job is 
off-lined before film transfer so we are transferring from an EDL, which 
greatly improves the color consistency in the final spot.  Our rule of thumb is 
3-4 hours for a typical :30 spot.  That time frame can change drastically 
depending on who is showing up for the transfer, how many cuts are in the spot, 
and how consistently the film was shot. As for tape-tape transfers, a 
typical :30 spot may take 1-3 hours, and usually ends up looking much more 
consistent because you can see immediatly how the color flows. We have recently 
been doing DI work for several independent features and documentaries, and the 
time frame has been 1 to 2 reels (10-20 minutes each) per 8 hour day, with all 
of the same factors ultimately determining the total time.  I hope this helps 
as a starting point, but as I'm sure you will find, each job is different from 
the next...

Janet Falcon
Senior Colorist
Shooters Inc. 
janet at shootersinc.com

Quoting Steve Hullfish <steve at veralith.com>:

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> 
>  
> I sent this request out to the colorlist with only one response. TIG  
> seems a little more lively today, so I'll repost:
> 
> My color correction experience is limited to tape-to-tape corrections  
> (and a DI theatrical trailer I post-supervised).
> 
> What are some typical amounts of time that the folks on the list are  
> given for various types of projects?
> 
> On the nationally telecast documentary series I've graded, I  
> typically had about two days to grade a 48 minute, approx. 600 shot  
> show. That works out to about 20 minutes of grading for each minute  
> of finished show or about  a minute and a half per shot.
> 
> How does that compare with spots, features and prime time drama? I  
> sat in on a couple telecine grades of some national spots that I  
> edited and those were between 4 and 8 hours.
> 
> 
> ----------------------
> 
> On the colorlist, we had one response with a non-linear correction  
> job for a 2500 shot 2 hour PBS doc being corrected in 15 hours!  
> That's a grade of a shot every 20 seconds!
> 
> Steve Hullfish
> Verascope Pictures
> (630) 717 9069 office
> (312) 399-4237 cell
> www.veralith.com
> 
> 
> 
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