Creative Professionals, Contracts, and Kill Fees in the Age of Covid-19

Accelerate your post-production career at https://mixinglight.com====I’m excited to share my interview with Ferg Rotherham. He’s a senior colourist and his credits include “The Pope’s Exorcist”, “Heartbreak High”, and “Boy Swallows Universe.”We discuss his journey in the industry and the mentors who have shaped his career. Fergus also talks about his transition into long-form grading and the challenges of managing his own schedule as a freelancer.We talk about the process of grading some of his recent projects and the challenges when transitioning from theatrical grade to HDR.Key takeaways from this InsightStarting as an assistant and being mentored by experienced colorists is a valuable learning experience in the industry.Managing clients and running a grading room requires technical skills and the ability to handle different personalities and opinions.Developing a personal style as a colorist can help distinguish your work and attract clients.Balancing short and long-form grading projects can be challenging, but having strong relationships with directors and DOPs can help maintain a steady workflow.Transitioning from theatrical grade to HDR requires contrast, levels, and color adjustments to maintain the intended look.Remote work can revolutionize the industry, allowing for greater collaboration and the ability to work on projects from anywhere.Recognition and awards are important in the industry as they validate professionals’ hard work and talent.Adapting a story for the screen requires balancing staying true to the source material and creating a visually compelling experience.Taking an overview approach and leaving room for perspective can help colorists maintain a fresh perspective and make better decisions in their work.=====Full show notes and related links and tutorials are here: https://mixinglight.com/color-grading-tutorials/ferg-rotherham-interview/

Accelerate your post-production career at https://mixinglight.com= = = =Today, I talked to Hootan Haghshenas, CSI. He’s a senior colourist with extensive credits, including the Oscar-Winner “The Salesman”, plus many feature films, music videos, and documentaries. His clients include Netflix, Disney, National Geographic, and more.He studied cinematography at the Art University of Tehran. Hootan is also an accomplished photographer with a Masters in Photography from the Royal Melbourne Institute of Technology.Our discussion starts with his career in Beruit and how he ended up in Australia, scene-referred workflows, Baselight / Resolve differences, and how colour preferences differ between cultures. He also discusses how remote workflows have had a positive impact on his career opportunities.=====Full show notes and additional links and related tutorials are here: https://mixinglight.com/color-grading-tutorials/interview-hootan-haghshenas/

Accelerate your career at https://mixinglight.com= = = =Today, I talked to Peter Postma – Managing Director, Americas at FilmLight. Formerly at Kodak and a graduate of the Rochester Institute of Technology. He was a part of the team that deployed the first hardware that could apply a LUT in real-time and was on the committee that developed the CDL. He’s also active in the development of ACES.Peter has made a career of creating workflows and standards that are easy to take for granted. Our conversation covers everything from ACES to rendering images for the new Sphere in Las Vegas. Plus, we talk about the innovative new features in Baslight v6 and its new perceptual color space.Note: Baselight 6 is now released. At the time of this recording, it was in beta.Key takeaways from this Insight- How CDLs were developed as a communication tool with DPs- The evolution of ACES- How HDR introduces creative challenges- The process of emulating photochemical processes- Why Film Processing improved after the introduction of digital tools- How Baselight evolved- Why BaseGrade uses Human Perceptual Space for color grading- Avoiding secondary corrections with better primary tools- The look development tools of ChromaGen- How color grading in the cloud is becoming possible- Producing color workflows for the Las Vegas Sphere=====Full show notes, additional links, and related tutorials are here: https://mixinglight.com/color-grading-tutorials/interview-peter-postma-filmlight/

This is a MixingLight.com subscriber-supported podcast. Accelerate your career!= = = =Today, I talk with Christian Ganea Reitmeier, a Quebec-based VFX Colorist at DNEG. He shares what he’s learned solving creative and technical challenges for some of Hollywood’s biggest movies and shows. Just a few of his credits are:- Oppenheimer- Dune- Uncharted- Tenet- Ghostbusters: Afterlife- FoundationChristian has a wealth of knowledge of color science, workflow, and the little details that make a big difference in making a movie look good. If you weren’t aware of the role of a VFX Colorist before, now this exciting craft is on your radar.Full show notes, additional links, and related tutorials are here: https://mixinglight.com/color-grading-tutorials/interview-vfx-colorist-christian-ganea/

Melbourne-based Colourist CJ Dobson, CSI shares how her recently opened colour facility, Mood Labs Film Looks, offers her clients new solutions to old workflow problems. We discuss CJ’s journey from being ‘queen of the conform’ at Digital Pictures to freelancing for a decade to becoming a business owner, some of the unique future-facing services Mood Labs offers, and the challenges of succeeding as a woman in a male-dominated industry.The full landing page for this episode, including links, can be found at: https://mixinglight.com/color-grading-tutorials/interview-senior-colourist-cj-dobson-csi/

If you want to talk to someone about the craft and business of being a professional dailies colourist, there aren’t many people with his experience you can chat with. Topics in this discussion include:The importance of dailiesWhere do dailies fit within the overall production, and who in the production should ‘own’ dailies?The different workflows of LUTs, CDLs, and BLG colour grading metadata that connect production to post productionWhy EVERY colourist should do dailies at least once in their careerThe tools that Fergus enjoys using in his dailies colour grading practiceThe full landing page for this episode, including links, can be found at: https://mixinglight.com/color-grading-tutorials/color-grading-dailies-fergus-hally-interview/

We're happy to introduce our newest Contributor, colorist Kali Bateman CSI. She's relaunching our interview series, starting with Vincent Taylor CSI. They discuss being a globetrotting colorist, moving from short form to long form, switching color grading platforms from job to job, and Vincent's work color grading Tiger King Season 2.Find more links at this episodes homepage: https://mixinglight.com/color-grading-tutorials/interview-senior-colourist-vincent-taylor-mixing-light-podcast/

Attorney Seth Polansky, Esq, discusses the rights of creative professionals if clients start to pull jobs (and you've turned away other work)?

Want to join the conversation? Leave your comments, questions, or observations on this episode's homepage: https://mixinglight.com/color-tutorial/professional-displays-flanders-scientific-bram-desmet/

Want to join the conversation? Leave your comments, questions, or observations on this episode's homepage: https://mixinglight.com/color-tutorial/the-fsi-3000-nit-xm310k-discussing-hdr-with-bram-desmet/