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Marc Wielage wrote:Mark Davies wrote:I bet the colour balls on the hardware are brilliant Unfortunately, pretty clunky on the program.
You're not using any hardware? Game over. Buy an inexpensive panel like the Tangent or MC Color. You can't color correct precisely without it. You also can't mix without hardware faders. Anything else is just screwing around.
I mean no disrespect, but have you ever sat in with an experienced colorist and watched them work? One 8-hour day would be extremely illuminating. I've learned a lot from my brothers in the VFX industry, and sitting in with them in the compositing and animation cubicles has taught me what problems they deal with, how they solve them, what clients expect, and the degrees of difficulty involved. Same deal with sitting in with an editor or a sound mixer -- all different skills that overlap in key areas.Digital colour correction is robotic enslavement with no pay and a difficult job for those who are With little in the way of creative benefits.
Wow. Can I knit that into a doily and hang it on the wall of the color correction room? The one I put up at Complete Post in Hollywood for 10 years was a paraphrase of the Hunter Thompson quote:
The post-production business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side.
I would add as a postscript: "It's not enslavement if you know what you're doing and know where the limits are." I've often warned colorists I've trained (I think a dozen over the last 20 years), "the hardest part of color correction is dealing with clients and managing their expectations... not the technical end." Knowing the knobs and menus is trivial. Having a knowledge of photography, lenses, exposure, cameras, and having a good grasp of problem solving are all keys. And maybe the single most important thing is having a positive attitude and knowing how to tactfully tell the client the truth while still solving their problems. It also helps to be human, compassionate, and have a good artistic sensibility, and yet also understand that we're all here for the money.
Color temperature is maybe .001% of the battle. To me, what you're asking for is just white balance. Five seconds and we're done. Move on to the next shot.
I would love to buy the hardware Who knows One day I might But as a film maker director writer I have a lot of other priorities and areas to learn At my level I need to be. If I ever got to the standard where I could pay for colour correction I would. Surely if I know something about colour correction That is a good thing isn't it? Surely by up and coming film makers having a few helpful one stop tools will help them get some recognition and move them to a position they can pay you and your students that's a good thing?. In the end working together in the same industry we all win. Isn't that what we want. Don't you want film makers who appreciate your work?
As for five seconds and done That's insulting I take sometimes days trying to get the right look and often come back later and redo it all again.
I guess if anything I am used to having certain tools in MB that I'm familiar with and would like to see some of those tools here. Resolve is growing on me It does many things better than AE Just doesn't have AEs full range of tools useful in colour like adjustment layers for example where you could add NR globally for example. Anyway I can understand the fear some have that resolve may lose its elitist status and lose sight of its professional vision. I can ask for tools and in the end BM can decide to implement them or not. Its just a program that either has tools or doesn't. A sports car may cost thousands more be uncomfortable needs lots of maintanence and costly. I'm asking for a sports car with springy seats and good all round vision. I'm not trying to change it from being a sports car but more into a comfortable workhorse whilst in the driving seat. Surely that is not to much of a compromise is it?
Mark Davies