[Tig] Counterpoint

Jean-Clement Soret jean-c at moving-picture.com
Mon Mar 28 18:19:08 BST 2011


The sum of small differences will make a big one over the years, overall
ads look much better than 10 years ago because there is more attention to
detail, because we always grade to a cut not miles of rushes that 99% used
to go to the bin, there is plenty of time to refine ( 8 to 12 hrs for a
60s is common here) you are given a chance to have a second look during a
mastergrade after post heavy jobs, or grading happens in parallel to post
so you have weeks to build it along VFX.
Our job has never been so exciting, first because we have amazing tools to
do what we want (no more frustration of not having enough ammunition),
colourgrading is still very much a one man show with more artistic input
than anywhere else in post.
Yes sometimes clients fall in love with their one light offline transfer
and it takes a bit of persuasion to move on but there is no such thing
anymore as a "flavour of the month look" it has become a more mature craft
where like in VFX the only way to make a difference is to go into detail.
As for the average audience it is not because they don't know that they
can't see, and even if that's a small percentage that's fine with me.
Less icing on the cake and a bit more flavour please,
Jean-Clement
MPC
London


On 24/03/2011 23:02, "Dave Pickett" <pickettscharge at hotmail.com> wrote:

>Sohonet http://www.sohonet.co.uk sponsors the TIG.
>Digital Vision is patron of the TIG.
>New Hat supports the TIG.
>Colorist Directory at http://tig.colorist.org/wiki/Category:Colorist
>====
>
>
>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.
>
>
>Dave
>
>
>Dave Pickett
>
>Colorist
>
>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
>> 
>> Sohonet http://www.sohonet.co.uk sponsors the TIG.
>> Digital Vision is patron of the TIG.
>> New Hat supports the TIG.
>> Colorist Directory at http://tig.colorist.org/wiki/Category:Colorist
>> ====
>> 
>> What a depressing outlook.
>> 
>> --
>> Adrian Thomas
>> Mobile
>> 
>> 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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