Search Results for: Colourist

[…], certainly in those days, what we would do if you were going to make an electronic version for a DVD or something like that, you’d actually take the colourist into a theatre and show him a roll of the print and he’d go straight back in with a negative and he’d do his… back off the saturation and it[…]

[…]able to use that as the reference at all. So other than that it’s kind of just, from the original negative, just kinda letting the colour grader, the colourist, go where the film is taking him in that sense, but… So he didn’t really have to do all that much to make it match the IB Tech print but it […]

[…]I’m just pausing because they were becoming Deluxe, they were becoming part of Deluxe at that point. But the real issues is it was the same staff and colourist. So they, all of us not really very used to working with faded Eastmancolor negative, so they scanned on a Arriscan, they scanned as best as[…]

[…]much. You know, this is the pre-digital days. You were able to alter so much with chemistry. Even the process of grading a print, which would be a, a colourist would do now on a digital set-up, in our days, the earlier days, it was done on a video analyser. Someone would actually sit down on an anal[…]

[…]neficial later in his career.00:10:42 – 00:17:33 JM worked on a number of large Digital Intermediate productions at Technicolor alongside a number of colourists from within the industry; JM talks about the commitment needed when working in the industry.[END]