Mixing Light Interview Series
Mixing Light, LLC
Recent Episodes
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/
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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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Full episode notes and links: https://mixinglight.com/color-grading-tutorials/color-grading-interview-daniel-stonehouse-crayon/
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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/
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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.
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- (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?
Accelerate your post-production career at https://mixinglight.com
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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.
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Full show notes and related links and tutorials are here: https://mixinglight.com/color-grading-tutorials/ferg-rotherham-interview/