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Seeking Movie Colorist – Some Questions
Hello,
Finishing a feature, seeking theatrical or television distribution and looking for a good colorist. Strategy was to query film schools in area Michigan – U of M, and CCS.
Since i know very little about coloring what would I be asking for in my job description?
Is Davinci Resolve the best program these days for coloring? Would FCP Color or Adobe Color be considered less than Daviinci Resolve?
Also, what would be good monitors that colorists should have? Ikegami HLM-2450W color-correction monitor? What other monitors would be necessary to do an excellent job for coloring?
Any help is appreciated.
Thanks, joe
joseph zabrosky
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4 Replies
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I think there are several good choices for color nowadays: Baselight, Lustre, Mistika, Nucoda, and Resolve all have positive points. It’s more about the artist than it is the software.
Ikegami monitors were good many years ago, but I don’t see them very often anymore. To me, there’s a lot of directions you can go in, but the key is that the monitor is calibrated correctly.
I’d worry more about the colorist’s resume and demo reel, and how long they’ve been working. And cost is a consideration, too: as with a lot of things in filmmaking, you get what you pay for.
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Talk to the DOP and see if they have a good working relationship with one.
And yes, look at their body of work. -
Marc:
Ikegami monitors were good many years ago, but I don’t see them very often anymore.“Quote” doesn’t seem to work anymore.
I have had a healthy respect for Ikegami cameras and monitors ever since I had to compete against them while doing a stint for a rival Japanese manufacturer. You don’t see them much anymore in the general population, but I have to say that of the larger presences at trade shows, theirs are among the few installations where the monitors and cameras actually match.
Hmmm, highlight and HTML-code don’t seem to work, either.
jPo, CSI
\”I always pass on free advice — its never of any use to me\” Oscar Wilde.
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Joseph Owens commented:
“I have had a healthy respect for Ikegami cameras and monitors ever since I had to compete against them while doing a stint for a rival Japanese manufacturer. You don’t see them much anymore in the general population, but I have to say that of the larger presences at trade shows, theirs are among the few installations where the monitors and cameras actually match.”
Yeah, Ikegami was great in the late 1990s and early 2000s. I’m not sure what happened to Ikegami in the last decade, but I just don’t see them very often, even at NAB or other trade shows. The color and post industry I see is pretty much Sony Broadcast BVM displays, and often LG OLED for the client.
We initially used Conrac monitors (anybody remember those?) in the 1980s, then Barco. Barco was one of the first companies to make a “large” 25-inch display, and that became very popular. Eventually, Sony came out with a BVM version in that size range and it became the standard very quickly. And by the end of the 1990s, HD started rolling in, and everybody had to invest in 32″ Sony BVM-32 color CRT monitors, which were about $25K. I always chuckle when I see newcomers on the forum ask “what’s the best monitor for $499?”
I agree with Mr. Owens that the forum software is broke/busted.
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