Colorist Podcast Josh Petok

This episode is sponsored by Colorist Society International and Mixinglight.com.
On this special episode of the Colorist Podcast, we discuss the details of NAB 2018 from a colorist’s perspective. Joining me is my long time friend and Coloristos podcast partner, Jason Myres.
Back in 2012, Jason and co-hosted a podcast called “The Coloristos” with our friend Juan Salvo. Every year, we were excited about the announcements that came with every NAB. This one proved to be just as interesting and surprising as years past.
Jason is also known for creating one of the best places for colorists to interact on the internet, liftgammagain.com. It’s the hub for colorists around the world to discuss software, hardware, inspiration, and techniques for colorists. Jason’s experience spans a wide variety of software and hardware platforms, which gives him a broad experience to draw on.
In this podcast, we talk about:
Blackmagic Design’s NAB announcements and how they effect colorists The addition of Fusion to DaVinci Resolve The IMF export spec and how it’s been adopted in different software Improvements in Flame and Lustre 2019 BLG grades inside of Flame Filmlight Baselight version 5 release across their entire platform The state of color managed workflows and ACES New grading monitors for NAB Coloring in HDR and VR Jason Myres Homepage
Coloristos Podcast
 
This episode is sponsored by:
Colorist Society International
For more information on how you can become a member, visit, https://coloristsociety.com/Join-the-Colorist-Society.
 
Mixinglight.com
Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

This episode is sponsored by Colorist Society International and Mixinglight.com.
On this episode of the colorist podcast, I talk with Color Scientist and Trainer, Dado Valentic.
Recently, Dado’s presentation about Artificial Intelligence and Color Grading has been making it’s way through the internet. In this YouTube video, he poses a question: Can we make the colorist’s job easier by using machine learning to match shots? This is the basis for a new plug-in he is developing for DaVinci Resolve called, “Joi”
Originally from Yugoslavia, Dado’s career has spanned from working at corporations like Apple and Sony, to running his own post production facility, “MyTherapy.” There he worked on a massive amount of projects in TV, film and commercials. In addition, he is a  trainer for the International Colori st Academy and Colour.Training. Currently, he’s decided to put his full focus on developing new software with his latest company “Colourlab”
In this podcast, we talk about:
Starting at Apple and how he first became exposed to color grading Machine learning and how it relates to color grading Working with HDR in a color managed workflow Being involved early in the filmmaking process How teaching has increased his skills as a colorist The tools that haven’t been created yet for the colorist Creating the “look” before the balance grade Running a facility versus being a colorist Why the CSI is an important group for colorists  
AI & Machine Learning to Colour Grading
http://www.dadovalentic.com
https://www.colour.training
http://www.mytherapy.tv
http://colourlab.co
 
This episode is sponsored by:
Colorist Society International
For more information on how you can become a member, visit, https://coloristsociety.com/Join-the-Colorist-Society.
Mixinglight.com
Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

This episode is sponsored by Colorist Society International and Mixinglight.com.
Senior Production Engineer and Colorist at Dolby, Shane Mario Ruggieri, CSI, joins me on this episode of the colorist podcast.
In San Francisco during the 2000’s, Shane came up through the ranks, working in all aspects of production and post production. From the beginning of Final Cut Pro, and later Apple Color, he cut his teeth on the early stages of color grading on the Mac. He’s colored for features, commercial, corporate, and entertainment industries. His clients have included Apple, Sony, Netflix, Green Day, Carrie Underwood, and Universal Studios. 
Now working at Dolby, Shane has specialized and is one of a handful of colorists that has been working with Dolby Vision HDR since 2010. He co-authored “A Perceptual EOTF for Extended Dynamic Range Imager” and authored “Breaking Out of the 100-nit Box: A Colorist’s View of Grading HDR”, which were presented at SMPTE.
In this podcast, we talk about:
How starting with SDR prepared him for working with HDR Working with Dolby Vision in Resolve Comparing HDR10 and Dolby Vision Grading tools in HDR and how they will change in the future Advantages of working with HDR as a starting point Workflow considerations for working with HDR versus SDR Using ACES and color management with HDR How HDR will change art direction, makeup, and lighting on the production side Using HDR subtlety and keeping your work invisible Why images over 1000 nits are more compelling and powerful  
Shane Mario Ruggieri, Homepage
Email
IMDB
Language of HDR
 
This episode is sponsored by:
Colorist Society International
For more information on how you can become a member, visit, https://coloristsociety.com/Join-the-Colorist-Society
 
Mixinglight.com
Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

This episode is sponsored by Colorist Society International and Mixinglight.com.
On this episode of the colorist podcast, I talk with Ian Vertovec, Co-Founder, and Senior Colorist at Light Iron. 
Ian has colored major films “The Social Network,” “The Girl with the Dragon Tattoo,” and “Ender’s Game.” And more recently, he has colored the TV shows “Baskets” for FX and “Glow” on Netflix. 
Originally from Chicago, Ian focused on photography, then moved on to digital compositing. He later co-founded two post facilities in Los Angeles: Plaster City, then Light Iron. Out of necessity, he moved on to color at his company. He found his combination of photography and compositing matched perfectly for a career as a colorist.
In this podcast, we talk about:
Coloring David Fincher films and working with extremely dark images The challenges of working on VFX heavy projects Making HDR look both cinematic and realistic Advantages of working with high-end systems like Quantel Pablo The difference between working on TV and films How experience with compositing served him as a colorist Bringing life to images using texture Using film emulation LUTs in his workflow Comparing different cameras as a colorist Using ACES in a color managed workflow Keeping grades simple, clean, and efficient Ian Vertovec - IMDb
Light Iron
 
This episode is sponsored by:
Colorist Society International
For more information on how you can become a member, visit www.coloristsociety.com.
Mixinglight.com
Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.
 

This episode is sponsored by Colorist Society International and Mixinglight.com.
On this episode of the Colorist Podcast, we take a look back at 2017. So much has happened this past year in the world of the colorist. Blackmagic unveiled two new affordable panels, as well as releasing Resolve 14. Filmlight continues to innovate, and shipped version 5 of Baselight. UHD and HDR are gaining wide adoption, with new content being available every day.
I recently had the opportunity to go back and review every podcast from this past year. I couldn’t believe all the talented people that made time to sit and talk with me. Colorists that worked on films from Lord of the Rings to Saving Private Ryan, TV shows NCIS Los Angeles and Planet Earth II, and commercials for Coca-Cola and Levi’s. We delved into many different topics, like collaborating with DP’s, working in foreign countries, and emerging technologies like HDR.
In this podcast, I’ve included some of my favorite insights from 2017:
Peter Doyle: Working on films that vary visually and conceptually Dave Abrams: HDR and it’s effect on calibration Warren Eagles: Film stocks and how they relate to digital cameras today Bob Festa: Working with clients and getting them to come back for more Alexis Van Hurkman: Techniques for working with HDR Dale Grahn: Developing looks for The Ring and Saving Private Ryan Juan Cabrera: Collaborating with Directors and DP’s in the suite Adam Inglis: Working with nature footage in Planet Earth II Patrick Woodard: Being flexible and working efficiently in television Vanessa Taylor: Working in a foreign country and overcoming language barriers  
This episode is sponsored by:
Colorist Society International
For more information on how you can become a member, visit, www.coloristsociety.com.
 
Mixinglight.com
Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.
 

This episode is sponsored by Colorist Society International and Mixinglight.com.
On this episode of the Colorist Podcast, I talk with Patrick Woodard, Lead Colorist at Digital Film Tree.
Patrick is best known for his color work on episodic TV shows like NCIS: Los Angeles, UNreal, Weeds, and Everybody Hates Chris. He’s worked on programs that air on the major networks, like CBS, NBC, and FOX, as well as the pay networks HBO and Showtime. In addition to working in TV, he’s also completed spots for Oakley, DC Shoes, and Fox Racing.  
Patrick built his foundation in photography, studying at the Brooks Institute of Photography. Combining this background with an internship at Digital Film Tree, set him in the direction of becoming a colorist. Moving up within the company gave him the opportunity to holistically understand the file-based workflow and the ways that it could be fast and flexible. 
 
In this podcast, we talk about:
How his background in photography served him as a colorist Challenges of working on a big budget TV shows The effect of streaming networks like Netflix and Hulu on television colorists Coloring for short form versus long form Collaborating with DPs and showrunners via remote sessions New technologies like 4K and HDR in television color ACES and other color-managed workflows Coloring for different TV networks  
PatWoodard.com
Digital Film Tree
Twitter
Instagram
IMDB
 
This episode is sponsored by:
 
Colorist Society International
For more information on how you can become a member, visit, www.coloristsociety.com.
 
Mixinglight.com
Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.