[Tig] Scopes

[Cem Ozkilicci]

Hi all!

I also feel the need to jump into this small
discussion about "young colorists" as one of the
younger ones :) ... it seems that young colorists have
a bad "rep" when it comes to the technical side of
things. 

I too come from a compositing background like
Florentijn, working on both Flame and Smoke. I have to
agree that while doing compositing work, I very rarely
used scopes mostly because we rarely did major color
correction on shots, and were more occupied with
tracking, masking, keying etc etc ... 

It's only after switching to telecine and assisting
Rob Lingelbach in my earliers days that I learned how
valuable a scope was. I also have to acknowledge Mike
Waldie's help on teaching me "Scopes 101" as well. :)

I do have to say this however, I believe that it is
the responsibility of senior colorists today and
possibly engineers to teach and train the younger
colorists about not only reading waveforms and parades
but also passing on the notion that a good colorist is
one that knows how to use all of the tools given to
him or her and also that having a glimpse at your
scopes everynow and then shouldn't make you feel like
an idiot or novice: it's part of the job.

Take care!

Cem Ozkilicci
Colorist
Digital Film Lab-Copenhagen


--- Floor Bos <floor at filmmore.nl> wrote:

> Thanks to Dave Pickett for supporting the TIG.
>  ====
> 
> Being one of 'those youngsters' I just couldn't
> resist in replying to this threat. I've been lurking
> for years on this group but I seldom mangle in the
> discussions. Mainly because of speculations like
> these. Sure there are people in the biz that can't
> tell the difference between proper vs false. What I
> do sense in the colourist community though is the
> need to behave elite to separate them selfs from
> 'the rest'. The rest being everyone else in Post
> Production.
> 
> This also happened in the time desktop compositing
> became popular. You had inferno/flame operators that
> where screaming smoke and fire (how appropriate :)
> because  'all those youngsters' would mess up their
> craft. It didn't happen, now, did it? All quality
> productions where still done by the same operators
> who had proven them selfs worthy of doing so. But of
> course some of the sitting operators had to make
> room for new talent.
> 
> I do agree tough that there is a lot of 'new talent'
> walking about, having done some Photoshop or
> Compositing and told them selfs it was now time to
> become a colourist. But also reckon that there is a
> lot of new talent to be acknowledged and that
> everyone deserves a equal chance and that you don't
> need to be a tape operator for 10 years to earn some
> grading assistant credits. 
> 
> Personally my background is compositing, I mastered
> that 'craft' for about 10 years. The last five years
> I mainly focussed on becoming a great colourist.
> Being one of the first Baselight operators (yes, pre
> 1.0) and having a background in compositing gives me
> other advantages maybe a traditional colourist
> doesn't feature. (if one would feel the need to
> generalize)
> 
> And yes, I do use my scopes and/or histogram. As a
> compositor I've already learned the importance of
> technicality. I don't believe that people who NOT
> use any form of measuring/proofing are young, or has
> anything to do with age, then you are just not doing
> your job right. People who mess up will eventually
> loose their job/function or worse, their clients.
> Time will show and tell.
> 
> 'Senior' colourists need to understand that it is
> hard for someone not having the 'proper age' to show
> their expertise in the craft of colouring. It is
> MUCH easier applying for a 'Senior' function in for
> example compositing or 3d, because you can just show
> of your work tell what you did and thats that. In
> the craft of colouring most is based on your
> reputation. Spreading rumors about 'youngsters' in
> general is, in the end, not good for anyone. 
> 
> Thanks for listening!
> 
> Florentijn Bos
> info at bosti.nl
> www.bosti.nl
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> 


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