pickettscharge at hotmail.com
Thu Mar 24 23:02:36 GMT 2011
I dont exactly agree with Martin's humorously depressing dialogue and the responses. I too have worked in multiple countries and the looks certainly changed by region but more often over time as any fashion. The desaturated lo con with slight tint had a big time in America in the early part of 2000's mostly as a response to the hyper contrast saturated looks of the late 90's. But that ran its course about 2004 (in America) and reverted back to good old bold contrast, big grads and treated styles. And what about the orange/cyan revolution in features? Hearkens to the "overused blue/green transfer look" of yore.
It seems European styles tend to like less contrast and saturation most likely due to the sunlight qualities in northern Europe and I noticed while in Australia in 2007 that they preferred the more subtle grade but still with bold exceptions on occasion. While in India last year skin tone was king as there is a concerted marketing effort led by star Shah Rukhkhan to actually lighten one's skin with creams. So while India is a brightly colored place in general the grades were balanced and skin tones milked a bit. Yet I applied some serious twists and contrast to some spots in Bombay as well. The clients there were very receptive to defocused highlights, vignettes and blues in the blacks et al. DDB London recently wanted an "O Brother" treatment for their Volkswagen spots shot in the Georgia countryside. In Shanghai, McCann wanted some style for a Coca Cola spot featuring a Taiwanese pop group.
Back home in America I have been applying vignettes, keying skin tones, using defocus and layering up to 10 nodes per shot for spots. Even the unsupervised "directors dailies" I did while at Technicolor in New York would bounce if the look wasnt what they were expecting. The dailies after all. Receiving stylized shots as reference and a detailed conversation with the DP ahead of the sessions is still the norm. And coming up with a handful of ideas before a final grading session seems to always be well received.
I too feel the pain of the end consumer not knowing or caring. But using the tools creatively and quickly has been well received just about everywhere I have given it a go. And I dont think the marquee color companies and artists got there by sending out low contrast one lights.
Jam Edit - Atlanta
> From: adrian.thomas at unit.tv
> Date: Thu, 24 Mar 2011 21:02:35 +0000
> To: sklein54 at earthlink.net
> CC: martinsansom at hotmail.com; tig at colorist.org
> Subject: Re: [Tig] Premature Death of SR
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> What a depressing outlook.
> Adrian Thomas
> On 24 Mar 2011, at 17:13, sklein54 at earthlink.net wrote:
> > Well written Martin, but I.M.H.O nobody knows the difference at home.
> > Don't we really only bust butt for 10 or 12 people who get it and care on
> > every project? The end-viewer out there somewhere isn't a consideration.
> > They dont have the gear, don't know the difference, and could not possibly
> > care less. If you 'A-B' between before (suck) and after (bitchin)
> > for viewers at home they can see it, but in context when the picture fades
> > up from black and they can see the folds in Scarlet Johannson's top when she
> > bends down it's all good.
> > Love my trade, the checks keep clearing and I take the sporadic exceptions
> > as gravy.
> > It's not about the gear, it's just that nobody knows the difference at
> > home...they never have.
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