When filmmakers work with a top-level finishing colorist in a high-end grading theater, they have access to an incredibly powerful toolset to enhance their images and, in turn, the ability to tell more powerful stories. But time is money, so how do you and the colorist efficiently discuss such abstract concepts as how to make a shot look "happy" or "sad," "nostalgic" or "scary"? Good colorists can quickly gather much of this when a well-prepared client brings in examples from photographs, paintings or other movies. But it also helps when you, the filmmaker, understand the colorist's unique language.
NYWIFT members will watch and learn many of the key concepts colorists work with all the time, such as lift, gain and gamma, and how each of these behaves differently when a colorist applies a correction. You'll learn about primary corrections (of the overall image) versus secondaries (of just isolated areas). You'll come away understanding what it means to grade "through a LUT" and why material that might look perfect projected on a screen can sometimes look very different on an HD monitor, or vice-versa. Company 3 will pack this presentation with the valuable information you need to help you make the most out of your every color session.
Presented by Company 3
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NYWIFT programs, screenings and events are supported, in part, by grants from New York City Department of Cultural Affairs in partnership with the City Council, and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.
Last updated: Oct. 21, 2015