Mixing Light Podcasts

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Channel • 2 Shows

Visual Arts

Visual Arts

Updated 12/03/2024
Visual Arts

Visual Arts

Updated Biweekly

12/03/2024

Voices From The Set – An Interview With 30-Year Veteran Gaffer Rick Kalivoda

Mixing Light Contributor Rich Roddman CSI interviews Rick Kalivoda, a 30-year gaffer and on-set veteran. Kalivoda talks about his craft in executing the DP's vision, the emergence of LED lighting, and its challenges. This starts a new Interview series featuring on-set crafts that affect post production workflows. Full notes and additional links, including the video, are on this Insight's homepage: https://mixinglight.com/color-grading-tutorials/interview-rick-kalivoda-gaffer-lighting/ Related Mixing Light Insights The Essential Gear For An On-Set Color Correction DIT Cart – Rich Roddman C.S.I. shows how he sets up his Cart for on-set color correction… and the thinking behind his choices.Part 4 of a DIT series.Being Flexible As A DIT: The Always Evolving DIT Cart – We all know that a good cart is essential to a DIT’s kit. But what if there is no room for your cart? What options do you have when size becomes a cause for concern? (00:00) - Introduction (00:43) - What is a Gaffer? (02:57) - A typical example of a Gaffer's work (05:29) - CRI vs SSI (07:02) - The evolution of LED lights (09:03) - Why Tungsten is the industry reference (12:02) - Light fixtures as the painter's palette (14:46) - Conversations with DPs (17:22) - LED Volume Walls as lighting instruments (19:55) - How has large dynamic range changed lighting? (25:20) - Lighting instruments & lens/camera choices (27:47) - Tungsten is our butter (27:53) - Tungsten - it's butter for chefs (29:15) - Are young DPs missing out on Tungsten? (31:20) - Managing Depth of Field (34:04) - Lighting is Logarithmic (36:30) - How to become a gaffer (37:32) - Advice for PAs (39:12) - Passing details from set to post (40:17) - Key & Fill Ratios (43:07) - The value of Makeup Artists (43:55) - What monitor to look at? (47:38) - What's Rick's trusted measuring device? (48:18) - Value of the on-set monitor (51:10) - Zero-budget lighting (56:45) - Replacing practical lights (59:39) - Wireless DMX vs Wifi and apps (01:01:05) - Essential roles on set (01:02:00) - Wrap Up

12/03/2024

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1h 8m
07/02/2024

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

07/02/2024

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1h 32m
04/01/2024

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/

04/01/2024

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1h 7m
FEB 21

The Color Timer Podcast with Colorist & Trainer Daria Fissoun, CSI

Accelerate your post-production career: https://mixinglight.com Full episode notes and additional links: https://mixinglight.com/color-grading-tutorials/color-timer-podcast-daria-fissoun-color-grading-history-terminology/ Buy the Color Timer Shirt, now for sale: https://vincenttaylorcolor.myshopify.com/ === In this episode of the Color Timer Podcast, I speak with the multi-talented Daria Fissoun, CSI. Daria is a highly skilled colorist, compositor, and certified DaVinci Resolve trainer with over a decade of experience in the post-production industry. She is also a Mixing Light contributor. We dove into the details of Daria’s latest project, a literal thesis about the etymology used in color correction and grading. Where do these terms come from? I had no idea I wanted to learn about this subject, but Daria quickly made me realize how incredible a history of our craft there is to discover. (00:00) - Introduction (02:08) - How Daria became a colorist (04:39) - Daria's thesis on Color Grading etymology (07:00) - How do you research a thesis? (09:31) - The idea of a thesis (11:43) - Daria's end goal of her thesis (14:49) - Daria's insights on how people learn (19:11) - How do you remember everything you've learned? (20:42) - Final thoughts

Feb 21

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22 min
08/23/2024

Interviewing The Production Designer & Art Director For ‘The Bear’

Accelerate your post production career: https://mixinglight.com Full episode notes and additional links: https://mixinglight.com/color-grading-tutorials/the-bear-production-designer-art-director-color-timer-interview/ Buy the Color Timer Shirt, now for sale: https://vincenttaylorcolor.myshopify.com/===How can I be mesmerized by a television masterpiece while being incredibly stressed out by the chaos of the content? The Bear provokes both of those things. But today, we don’t have to worry about those questions because we focus on the show’s stunning production design and art direction! In this episode, I chat with Production Designer Merje Veski and Art Director Lisa Korpan about how they got into the world of The Bear, what their roles are, and how they work together to create some of the best television I’ve ever seen. Merje has a massive credit list, including Chicago Fire, Bobby & Iza, and Man of Steel, to name a few. Lisa’s portfolio includes Justified: City Primeval, Shining Girls, Candyman, and one of my personal favorite shows, Sense8—again, these are only a few. About The BearIf you haven’t seen The Bear, it is an American psychological comedy-drama television series created by Christopher Storer. Jeremy Allen White stars as Carmy Berzatto, an award-winning chef who returns to his hometown of Chicago to manage the chaotic kitchen at his deceased brother’s sandwich shop. The Bear won 10 Emmy awards in 2023 and has been nominated for a record-breaking 23 Emmy awards, including outstanding production design for 2024.===Executive Producer: https://mixinglight.comPodcast Home: https://colortimerpodcast.mixinglight.com (00:00) - Introduction (02:31) - How Merje & Lisa got started (04:01) - How Lisa & Merje work together (06:48) - Lisa's role in production logistics (08:06) - How do they decide what projects to commit to? (09:29) - When do you realize you're working on an amazing project? (10:46) - Where do you begin with each episode? (12:51) - The direction and design of The Bear's food (16:28) - Do Merje and Lisa relate to the theme of perfection? (18:17) - Is there a Look Book / Bible for The Bear? (21:25) - About the look of the kitchen and bakery (24:37) - Thanks! Buy some Color Timer merch!

08/23/2024

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26 min
10/31/2024

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. ===

10/31/2024

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1h 1m
02/10/2023

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/

02/10/2023

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27 min
01/11/2024

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/

01/11/2024

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1h 15m
08/04/2023

15 Minutes with Tattoo Artist Jhon Gutti – The Color Timer Podcast

Accelerate your post-production career: https://mixinglight.com Full episode notes and additional links: https://mixinglight.com/color-grading-tutorials/interview-tattoo-artist-jhon-gutti-color-timer-podcast-ep_106/=======In this special episode of The Color Timer Podcast, I head out on the road to visit award-winning tattoo artist Jhon Gutti in his LA studio. Originally trained as an architect in Colombia, Jhon has worked as a tattooist for over 10 years, with 20 years of practice under his belt, specializing in stunningly realistic black and grey tattoos. During our conversation, Jhon shares his approach to: - Creating separation between the black ink and the skin tone- Selecting the right clients- Managing his three tones of black- Handling the uncontrollable variables of tattooing human skin. - - -Producer: Kayla UribeEditor: Arthur DitnerExecutive Producer: https://mixinglight.comSupporting Sponsor: https://www.filmlight.ltd.uk/Podcast Home: https://colortimerpodcast.mixinglight.com

08/04/2023

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21 min
12/07/2023

Colorist Paul Harrison: Winning Awards on both sides of the Atlantic

Accelerate your post-production career: https://mixinglight.com Full episode notes and additional links: https://mixinglight.com/color-grading-tutorials/the-color-timer-podcast-interview-with-paul-harrison/======Season 1 of The Color Timer Podcast wraps: We chat with Paul Harrison, a colorist renowned for his award-winning short-form work and films. Paul Harrison’s professional journey has covered just about every corner of the industry that could possibly be painted 18% gray. Currently, Paul is the Senior Colorist and Partner at Residence Pictures and has completed the visually stunning The Killing Kind (Paramount +) and The Gallows Pole (BBC). From humble beginnings as an on-set runner, to learning the dark arts of telecine with a Pandora Pogle, to honing the look of top-notch brands like Guinness, Levi’s, and BMW; Paul shares his insights and his inspiration. One of the world’s top colorists, Paul Harrison has been continually ranked amongst the top three finishing artists in the UK throughout his career, frequently topping the Televisual Best Colorist polls as well as winning successive BTAA awards for best colorist. Chatting with Paul feels like chatting with an old friend, he quickly puts you at ease and I would imagine that this is something that would make those long hours in a color session so much easier.- - -Editor: Arthur DitnerExecutive Producer: https://mixinglight.comSupporting Sponsor: https://www.filmlight.ltd.uk/Podcast Home: https://colortimerpodcast.mixinglight.com

12/07/2023

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21 min

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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