24 blog posts found matching keyword search for: colorists in El Paso
Lou Daumas works as a colorist at a post production house in NYC named Magic Lantern. Located in the center of Chelsea, the company is known for high-end documentary and branded content finishing work for clients like Netflix, HBO, Facebook, CNN, and National Geographic. They recently worked with Academy Award winning Little Monster Films for the new global ad campaign with adventurer Jimmy Chin and the drone company DJI.
Color is one part of the creative process that has distinct advantages to being completed in person. Typically, you’re working with the original footage, which can be quite large and hard to transfer over the internet. If you’re the client, it’s best to see exactly what the colorist is seeing. If you’re the colorist, you definitely want your client approving the color on your color calibrated monitor.
Recently we had the opportunity to talk at length with Colorist Juan Cabrera, ASC Associate Member. Juan provided some incredibly valuable insights on his journey and on the art of being a colorist for major motion pictures and television. Juan also shed some light on how everyone at all levels of the production workflow can benefit from learning that the journey from beginning to the end really begins in pre production. Very enlightening to say the least. Check it out!
Production monitors are in a period of flux. As we transition from the familiar REC709 HD signal standard into an uncertain future, the idea that there is one “standard” monitor in the broadcasting/high-end video/digital cinema production space is no longer true, if it ever was. However, there are a few models that we like, use and consistently recommend to our customers at AbelCine.
With COVID-19 corporate shut downs and a massive shift to remote or furloughed workforce, the post-production industry and their teams have been one of the hardest hit. Teams are scrambling for solutions with a limited remote workforce that allows post-production projects to continue while maintaining social distance.
Significant Others, the creative finishing arm of UK-based creative editorial company Final Cut, is a bi-coastal collective of visual effects artists and other creatives specializing in commercial finishing. Best known for its commercial work, Significant Others also has a penchant and talent for finishing feature films, including the Academy Award-winning film “Moonlight.” We got the chance to speak with Producer Alek Rost about his experience working on the film, including what it was like to collaborate with Director Barry Jenkins and the tools his team used to give the film its unique look.
Ian Vertovec, Supervising Colorist, Light Iron Talks About Life in the Industry, Upcoming Projects & More!
Supervising colorist at Light Iron, Ian Vertovec, talks about his role as a colorist, recent projects and what he loves so much about being in the industry.
I interviewed Brian De Herrera-Schnering, a colorist for Pinto Pictures who has flexed his color-grading muscles on everything from commercials and corporate projects to feature-length films. We talked about what has changed due to the pandemic, what remains the same in every era, and how he stays inspired.
As hard as it is to prepare for and run a crowdfunding campaign, it’s actually the easy part. After you successfully raise the funds, you are integrity-bound to your backers. They trusted you enough to invest: You’re going to want to earn that trust.
So far this year, Blackmagic has come out with some pretty innovative products quickly making buzz in our industry. Get an inside look at their stunning studio camera, the URSA & Resolve 11, from Blackmagic's Prez, Dan May.