<p>Accelerate your post-production career: <a href="https://mixinglight.com">https://mixinglight.com</a></p><p>Full episode notes and additional links: <a href="https://mixinglight.com/color-grading-tutorials/career-advice-for-colorists-from-aurora-shannon-company-3/">https://mixinglight.com/color-grading-tutorials/career-advice-for-colorists-from-aurora-shannon-company-3/</a></p><p>====<br>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:</p><p>- Rob Pizzey<br>- Stephen Nakamura<br>- Stefan Sonnenfeld<br>- Mitch Paulson<br>- Adam Glassman<br>- Greg Fisher<br>- Paul Ennsby</p><p>As a result, the wealth of color grading knowledge she has to share is considerable!</p><p>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.</p><p>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.<br>---<br>Content like this is made possible by Mixing Light subscribers on <a href="https://MixingLight.com">MixingLight.com</a>. You can support our work for as little as $4.58 per month (paid annually): <a href="https://mixinglight.com/membership/">https://mixinglight.com/membership/</a></p> <ul><li>(00:00) - - Introduction </li> <li>(01:43) - - The look for the shows Sweet Magnolias &amp; Under the Bridge </li> <li>(04:14) - - Film is a format, not a color palette </li> <li>(06:29) - - Using a thick or thin LUT </li> <li>(07:22) - - Do you tend to work underneath or over the LUT? </li> <li>(08:59) - - Why you should talk to the DP before doing the grade </li> <li>(11:44) - - Using the CDL's </li> <li>(14:47) - - Mentoring Program </li> <li>(18:10) - - Who cares about your reel, what's in your CV? </li> <li>(22:09) - - What is a useful reel? </li> <li>(24:54) - - The two pathways </li> <li>(29:16) - - At the start of Aurora's career </li> <li>(37:12) - - After company 3 </li> <li>(39:23) - - How gender plays a role </li> <li>(41:30) - - Project levels vs Job titles </li> <li>(43:29) - - A bigger fish in a smaller pond </li> <li>(47:05) - - Back at Company 3 </li> <li>(49:55) - - What is the look of 'Hollywood film'? </li> <li>(52:53) - - Working on different kinds of projects </li> <li>(54:18) - - Working the node tree </li> <li>(59:07) - - Refining your methodology </li> <li>(01:02:54) - - Working remotely </li> <li>(01:05:04) - - Separate divisions have become one </li> <li>(01:08:57) - - Working on Crazy 8s </li> <li>(01:14:58) - - Working with RED Camera media </li> <li>(01:21:39) - - What is in the pipeline?</li> </ul>

Mixing Light Interview Series

Mixing Light, LLC

Developing a Career in Color Grading with Colorist Aurora Shannon

AUG 16, 202486 MIN
Mixing Light Interview Series

Developing a Career in Color Grading with Colorist Aurora Shannon

AUG 16, 202486 MIN

Description

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?