Mixing Light Interview Series
Mixing Light, LLC
Recent Episodes
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
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.
===
Full episode notes and links: https://mixinglight.com/color-grading-tutorials/color-grading-interview-daniel-stonehouse-crayon/
====
Experienced colorist Daniel Stonehouse owns and co-founded the boutique color grading studio Crayon in Melbourne, Australia. Throughout my detailed conversation with Dan, he shares a wealth of experience and practical insight on the art, craft, and business of color grading and what it takes to run a successful modern boutique shop.
During our conversation, Dan emphasized adaptability, continuous learning, dedication, and a holistic approach to becoming an effective colorist.
To this point, Dan offers some excellent wisdom to anyone managing color grading clients from ‘discovery to delivery’. You should consider perfecting the grading session and the lengthy discussions, negotiations, and planning preceding it. Plus, there are after-session processes, such as invoicing and generating visuals for promotion.
- (00:00) - Introduction
- (03:09) - The democratization of color grading
- (05:32) - The impact of Apple Color software
- (07:59) - Inspired by BEAN
- (10:25) - On being self-taught
- (13:25) - Dan's philosophy on grading
- (17:31) - FX Phd, Mixing Light, and online training
- (19:38) - You are a colorist until you tell yourself you're not
- (21:20) - It's not about the tools
- (24:25) - How did Crayon get to its current form?
- (27:22) - The end of the Post House era
- (33:26) - The Covid effect
- (34:33) - About colorist Abe Wynen
- (36:47) - It's not about being local anymore
- (38:31) - Remote freelance work vs a solid infrastructure
- (39:56) - Colleagues, competition, and self-confidence
- (46:57) - The blessing of limited time
- (48:56) - Getting into a flow state
- (53:13) - Paintings and photography as references
- (54:15) - Daniel's thoughts on 'Look creation'
- (56:08) - Grading under the look
- (01:04:10) - Don't get trapped by your workflow
- (01:08:04) - Matching shots
- (01:08:54) - Working on commercials
- (01:11:07) - Growing into the craft
- (01:15:04) - Evaluating a colorist's tendencies
- (01:17:47) - The trickiest color to work with..
- (01:19:35) - What is next for Crayon?
- (01:22:35) - The importance of Producers
- (01:25:15) - Being a 'facility colorist' vs freelance
- (01:31:11) - Wrapping up...
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?
