Mixing Light Podcasts

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How Much Should Post Production Pros Earn? Does AI Threaten Our Industry?

Full episode notes plus additional links mentioned in this video related to working as a post production professional are at this video's homepage: https://mixinglight.com/color-grading-tutorials/office-hours-live-how-much-are-other-colorists-earning/ === On this edition of Office Hours Live, host and Mixing Light CEO Patrick Inhofer is joined by post-production veteran and Mixing Light contributor Katie Hinsen. They tackle the thorny topic of what you should charge for your creative services and how those rates stack up against others in your field. For the past nine years, Katie has spearheaded the Post Production Survey, which collects confidential and anonymous salary and working conditions data to provide a valuable snapshot of the market's current state. ===

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The Color Timer Interview With High-End Episodic Colorist - Rory Gordon

Rory Gordon is one of the most experienced HDR colorists working in television and streaming, with experience finishing over 120 episodes in HDR10 and Dolby Vision. During our 15-minute conversation, Rory articulates very clearly her process and love of color. She’s also created amazing artwork, including a series of physical clocks that explore the color timeline of films and display those color changes around the clock’s face! The homepage for this episode, with full show notes, can be found here:https://mixinglight.com/color-grading-tutorials/color-timer-aurora-gordon-ep-101/ - - -Producer: Kayla UribeExecutive Producer: https://mixinglight.comSupporting Sponsor: https://www.filmlight.ltd.uk/Podcast Home: https://colortimerpodcast.mixinglight.comPodcast on YouTube: https://www.youtube.com/playlist?list=PLYBfZs5q3JKyLAmryR9LRp_nKaag7Bj3h

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Meet Filmmaker Michael Henry - Being color blind in a visual industry

Accelerate your post-production career: https://mixinglight.com Full episode notes and additional links: https://mixinglight.com/color-grading-tutorials/15-minutes-with-filmmaker-michael-henry-the-color-timer-podcast---Michael Henry is an old friend and a veteran filmmaker best known for his feature film debut, Blame, which was selected for entry into numerous top film festivals worldwide. During our conversation, Michael discusses what it’s like to be a color-blind creative, building trust with your team, and the essential nature of tonality in cinematography.- - -Editor: Arthur DitnerExecutive Producer: https://mixinglight.comSupporting Sponsor: https://www.filmlight.ltd.uk/Podcast Home: https://colortimerpodcast.mixinglight.com

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Developing a Career in Color Grading with Colorist Aurora Shannon

Accelerate your post-production career: https://mixinglight.com Full episode notes and additional links: https://mixinglight.com/color-grading-tutorials/career-advice-for-colorists-from-aurora-shannon-company-3/ ====Aurora Shannon, colorist at Company 3 Vancouver, is known for her impressive work on popular shows, including Sweet Magnolia and Under the Bridge. Aurora’s career journey spans several continents and includes incredible career opportunities with: - Rob Pizzey- Stephen Nakamura- Stefan Sonnenfeld- Mitch Paulson- Adam Glassman- Greg Fisher- Paul Ennsby As a result, the wealth of color grading knowledge she has to share is considerable! In this detailed discussion, we unpacked her professional accomplishments, creative process, the technical aspects of color grading, and her approach to tackling long-form color grading. Alongside her professional achievements, Aurora has an inspiring commitment to mentorship roles and giving back to the community. Her insights on carving a successful career in the industry offer valuable lessons for all aspiring colorists.---Content like this is made possible by Mixing Light subscribers on MixingLight.com. You can support our work for as little as $4.58 per month (paid annually): https://mixinglight.com/membership/ (00:00) - - Introduction (01:43) - - The look for the shows Sweet Magnolias & Under the Bridge (04:14) - - Film is a format, not a color palette (06:29) - - Using a thick or thin LUT (07:22) - - Do you tend to work underneath or over the LUT? (08:59) - - Why you should talk to the DP before doing the grade (11:44) - - Using the CDL's (14:47) - - Mentoring Program (18:10) - - Who cares about your reel, what's in your CV? (22:09) - - What is a useful reel? (24:54) - - The two pathways (29:16) - - At the start of Aurora's career (37:12) - - After company 3 (39:23) - - How gender plays a role (41:30) - - Project levels vs Job titles (43:29) - - A bigger fish in a smaller pond (47:05) - - Back at Company 3 (49:55) - - What is the look of 'Hollywood film'? (52:53) - - Working on different kinds of projects (54:18) - - Working the node tree (59:07) - - Refining your methodology (01:02:54) - - Working remotely (01:05:04) - - Separate divisions have become one (01:08:57) - - Working on Crazy 8s (01:14:58) - - Working with RED Camera media (01:21:39) - - What is in the pipeline?

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From Freelancer to Facility Owner With Senior Colourist CJ Dobson, CSI

Melbourne-based Colourist CJ Dobson, CSI shares how her recently opened colour facility, Mood Labs Film Looks, offers her clients new solutions to old workflow problems. We discuss CJ’s journey from being ‘queen of the conform’ at Digital Pictures to freelancing for a decade to becoming a business owner, some of the unique future-facing services Mood Labs offers, and the challenges of succeeding as a woman in a male-dominated industry. The full landing page for this episode, including links, can be found at: https://mixinglight.com/color-grading-tutorials/interview-senior-colourist-cj-dobson-csi/

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From Concept to Screen: Virtual Production in Film and Television

Accelerate your post-production career: https://mixinglight.com Full episode notes and additional links: https://mixinglight.com/color-grading-tutorials/interview-bryn-interview-virtual-production/ Content like this is made possible by Mixing Light subscribers on MixingLight.com. You can support our work for as little as $4.58 per month (paid annually): https://mixinglight.com/membership/ ==== I met Bryn Morrow while colour grading television commercials shot on a volume stage at Steelbridge Studio in Brisbane, Australia. Interestingly, I didn’t realize until the resizes were removed from a shot that the commercial hadn’t been shot ‘in real life’ but on a stage. Once I started looking critically, I found opportunities to enhance the scene’s realism. As this is a new and rapidly developing technology, I thoroughly enjoyed this opportunity to speak with Bryn and understand the methodology and challenges of this medium. Bryn is a VFX Supervisor based out of Queensland, Australia. His training and experience as a Cinematographer, combined with his expertise as a VFX and CG Supervisor, provides a unique insight into live-action production and VFX workflows. Some of his film credits include: - Prometheus- The Power of the Dog- Land of Bad- Captain America In this interview, Bryn discusses virtual production on a volume stage. He specifically describes the workflow and relationship between post production and colour grading, how colour grading can be incorporated into the process, and what to look for when grading virtual production. 00:00:00 Introduction And Background00:01:26 What Is A Volume?00:06:24 Creating Environments In The Volume00:13:27 Aligning The Digital And Real World00:19:19 Steel Bridge Studios And Virtual Production In Australia00:25:33 Virtual Production Adoption Challenges And Cost Structure00:28:50 Pre-Visualization And Digital Scouting00:32:02 Depth Of Field Constraints And Lens Constraints00:32:53 Collaboration With DPs00:37:42 Color Pipeline00:39:25 Challenges Of LED Panel Colour Management00:42:42 Linear Workflow00:45:53 Color Grading In Virtual Production00:50:59 Is There A Role For Colourists?00:58:15 Kalie’s Experience Grading A Volume01:00:54 What Happens In The Brain Bar01:02:32 Brain Bar: Challenges Tracking The Virtual Camera01:04:27 Brain Bar: Virtual Art Department Supervisor01:06:04 Bryn’s Interactions With The Brain Bar01:07:45 Bryn’s Background And Expertise01:14:05 Understanding Where Virtual Productions Make Sense01:16:08 The Role Of Colorists In Virtual Production01:23:30 Improvements In Panel Technology01:25:41 New Subframe Tech Generating Mattes For The Colourist01:30:26 Closing Remarks

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A Conversation With Senior Colourist Vincent Taylor CSI

We're happy to introduce our newest Contributor, colorist Kali Bateman CSI. She's relaunching our interview series, starting with Vincent Taylor CSI. They discuss being a globetrotting colorist, moving from short form to long form, switching color grading platforms from job to job, and Vincent's work color grading Tiger King Season 2. Find more links at this episodes homepage: https://mixinglight.com/color-grading-tutorials/interview-senior-colourist-vincent-taylor-mixing-light-podcast/

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An Interview with Oscar-Winning International Colourist Hootan Hagshenas CSI

Accelerate your post-production career at https://mixinglight.com= = = =Today, I talked to Hootan Haghshenas, CSI. He’s a senior colourist with extensive credits, including the Oscar-Winner “The Salesman”, plus many feature films, music videos, and documentaries. His clients include Netflix, Disney, National Geographic, and more. He studied cinematography at the Art University of Tehran. Hootan is also an accomplished photographer with a Masters in Photography from the Royal Melbourne Institute of Technology. Our discussion starts with his career in Beruit and how he ended up in Australia, scene-referred workflows, Baselight / Resolve differences, and how colour preferences differ between cultures. He also discusses how remote workflows have had a positive impact on his career opportunities.=====Full show notes and additional links and related tutorials are here: https://mixinglight.com/color-grading-tutorials/interview-hootan-haghshenas/

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The Career Lessons Learned Of Senior Colorist Ferg Rotherham

Accelerate your post-production career at https://mixinglight.com==== I’m excited to share my interview with Ferg Rotherham. He’s a senior colourist and his credits include “The Pope’s Exorcist”, “Heartbreak High”, and “Boy Swallows Universe.” We discuss his journey in the industry and the mentors who have shaped his career. Fergus also talks about his transition into long-form grading and the challenges of managing his own schedule as a freelancer. We talk about the process of grading some of his recent projects and the challenges when transitioning from theatrical grade to HDR. Key takeaways from this Insight Starting as an assistant and being mentored by experienced colorists is a valuable learning experience in the industry.Managing clients and running a grading room requires technical skills and the ability to handle different personalities and opinions.Developing a personal style as a colorist can help distinguish your work and attract clients.Balancing short and long-form grading projects can be challenging, but having strong relationships with directors and DOPs can help maintain a steady workflow.Transitioning from theatrical grade to HDR requires contrast, levels, and color adjustments to maintain the intended look.Remote work can revolutionize the industry, allowing for greater collaboration and the ability to work on projects from anywhere.Recognition and awards are important in the industry as they validate professionals’ hard work and talent.Adapting a story for the screen requires balancing staying true to the source material and creating a visually compelling experience.Taking an overview approach and leaving room for perspective can help colorists maintain a fresh perspective and make better decisions in their work. ===== Full show notes and related links and tutorials are here: https://mixinglight.com/color-grading-tutorials/ferg-rotherham-interview/

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15 Minutes With Award-Winning Colorist Ana Escorse

Full episode notes and links: mixinglight.com===Ana Escorse is a senior colorist at Toronto’s Studio Feather. Ana was born and raised in Brazil and was influenced by her exposure to Brazillian Baroque art at a young age. Last year Ana was recognized at the Filmlight Color Awards, where she won the award for Best Music Video. This year she returns to the color awards as a judge. During our conversation, Ana discusses the industry’s challenges, her influences, and what it’s like to be a judge. - - -Producer: Kayla UribeEditor: Arthur DitnerExecutive Producer: https://mixinglight.comSupporting Sponsor: https://www.filmlight.ltd.uk/Podcast Home: https://colortimerpodcast.mixinglight.com

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Mixing Light accelerates the careers of film and television post production professionals. Our podcasts feature interviews with accomplished professional creatives who are client-tested.

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Mixing Light Podcasts

أفضل البرامج

How Much Should Post Production Pros Earn? Does AI Threaten Our Industry?

The Color Timer Interview With High-End Episodic Colorist - Rory Gordon

Meet Filmmaker Michael Henry - Being color blind in a visual industry

Developing a Career in Color Grading with Colorist Aurora Shannon

From Freelancer to Facility Owner With Senior Colourist CJ Dobson, CSI

From Concept to Screen: Virtual Production in Film and Television

A Conversation With Senior Colourist Vincent Taylor CSI

An Interview with Oscar-Winning International Colourist Hootan Hagshenas CSI

The Career Lessons Learned Of Senior Colorist Ferg Rotherham

15 Minutes With Award-Winning Colorist Ana Escorse

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