Join Date: Jan 2001
Location: Sylva, North Carolina, USA
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Late to the forum as usual. I'm in postproduction. I work in Philadelphia for a great facility. I'm a telecine colorist, which means I transfer film to tape, tweaking the color in the process to the whims of the Director of Photography, Director, Art Director and/or agency creatives. And while we still transfer a lot of film, we also apply our color enhancement to skills to video originated material as well.
The job has evolved since I began almost thirty years ago. When I started, the venerable Rank Cintel MkIII telecine was just hitting its stride. We only did color balancing, or primary color correction back then. In the eighties we became able to tweak the hues and saturations of the six colors you see in color bars; this was secondary color correction. The nineties saw the use of "window" technology, allowing us to "dodge and burn" in real time to bring out one or more sections of a frame. This decade, nonlinear systems are emerging for color correction and the workflow is rapidly changing.
I've simplified things a bit, but it's a wonderful, creative job. Crazy hours, but very rewarding work.
Aibohphobia: The fear of palindromes