An interview w/ Siggy Ferstl
Cullen Kelly2024-04-04
2K views|5 months ago
💫 Short Summary
The video discusses the evolution of color correction technology from punch tape to digital manipulation, emphasizing the challenges faced and advancements made. It highlights the importance of mastering contrast and color basics, adapting to client preferences, and collaborating with filmmakers to achieve desired looks. The speaker shares experiences in color grading for various projects, emphasizing the creative process and the impact of color on storytelling. The discussion also touches on real-time playback, client feedback, and the diverse nature of projects in the industry, concluding with gratitude for collaborative opportunities and creative freedom.
✨ Highlights
📊 Transcript
✦
Evolution of color correction technology since 1982.
01:29Sigy FAL talks about the technical challenges of using punch tape for color corrections.
Primitive communication methods between color correctors and equipment, relying on punch tape triggers and lacking features like time code.
Sigy reflects on the simplicity of early color correction tools compared to modern advancements.
Significant differences in workflow and technology over the years are emphasized.
✦
Challenges in Color Correction in Early Technology.
05:42Issues included image quality drift and stability problems.
Techniques like adjusting RGB levels and manual color correction were essential.
Transition from film to digital technology showcased advancements in digital film manipulation and color scanning.
Speaker reflects on attending a digital film course in Paris, highlighting significant progress in the late '90s and early 2000s.
✦
Early film color correction processes using hardware systems like Da Vinci Splice.
10:13Enhancing scenes for 'House of Flying Daggers' by adjusting colors and creating unique visual effects.
Meticulous calibration of monitors to match lab prints without the use of LUTs.
Stunning results led to the cinematographer's nomination for an Academy Award.
Reflection on the rewarding feeling of seeing their work on screen for the first time.
✦
Importance of nailing contrast and blackpoint/white point in color grading.
16:23Mastering contrast levels is crucial before introducing color to establish a strong foundation for successful color work.
Learning to use new tools gradually and mastering one or two at a time is emphasized for effective color grading.
Mentors played a significant role in the speaker's learning journey, highlighting the value of narrowing focus and consistent practice.
The conversation also mentions past tools like Da Vinci 2K and their similarities to modern tools like Resolve.
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Evolution of Color Correction Tools and Techniques
17:30Challenges and opportunities presented by modern technology in color correction are discussed.
Importance of adapting to different client preferences and staying open to new tools and methods is emphasized.
Speaker's approach to color correction involves exploring and experimenting with a wide range of tools.
Contrasts traditional and rigid methods adopted by some colorists.
✦
Collaboration with filmmakers on color grading involves discussions on lenses, Luts, and film tests to align on the desired look and feel before shooting.
22:11The choice of lenses impacts the image sharpness, flare, and resolution, with different lenses offering varying aesthetics.
Color grading decisions can drastically alter the final image's appearance, from deep blacks to color saturation and hue shifts.
Despite discarding some color and contrast, these choices contribute to the overall stylistic and emotional impact of the film.
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Importance of color grading in creating a unique look for a show.
27:43Using film stock reference and combining color and luminance values for a modern aesthetic.
Making choices on color temperature and white point adjustments.
Ensuring proper roll-off of whites and avoiding clamping issues in blacks during color grading.
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Key highlights of color correction process.
30:19Select high saturation, high luminance colors without overdoing it to avoid clipping or strange effects.
Combine colors carefully and check for any issues before finalizing.
Trial and error are common in the process, with support from color science teams.
Emphasis on creating rich, vibrant, and colorful images while balancing contrast and color.
✦
Importance of color correction in filmmaking.
36:14Carefully choosing color palettes can influence creative decisions of production team.
Color used as a narrative device in storytelling, with examples from 'The Boys'.
Collaboration between filmmaker and colorist in designing looks for the show.
Impact of color correction on the overall production emphasized.
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Color grading process ensures a balanced final look through adjustments during post-production.
39:41Cutaways in the show have a warmer palette and increased grain texture compared to main scenes.
Show features a cooler palette with desaturated tones, while on-air studio segments are fully saturated.
The goal is to create a broadcast look that enhances visuals without being jarring to the viewer.
Striking a balance between distinctiveness and cohesion is key in color grading.
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The unique look and color grading of a specific show is the focus of the discussion.
43:53Traditional and subtle techniques are used to create a monochromatic world in the show.
The importance of maintaining a balance between different elements and expressing a range of colors and palettes is highlighted by the colorist.
The collaboration between the colorist and filmmakers is praised for allowing creative freedom and flexibility in shaping the visual aesthetics of the show.
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Key highlights of color correction process and working with Tim Burton.
50:07Communication and understanding different perspectives is crucial for color interpretation.
Enhancements and desaturation techniques are utilized for visual contrasts and depth in scenes.
Collaborating with filmmakers helps bring their vision to the screen effectively.
Developing skills in client communication and interpreting visual cues are essential for successful color correction.
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Filmmaking feedback and decision-making process.
50:39Importance of understanding and listening to feedback in filmmaking to navigate conflicting directions and make scene adjustments.
Emphasis on not getting stuck on details that don't feel right, but moving forward and revisiting with fresh eyes.
Experience and confidence are essential in knowing when to push forward or put a pin in it.
Compromises are often made in real-time during collaborative sessions, requiring flexibility and the ability to revisit decisions for client satisfaction.
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Importance of real-time playback in color grading.
57:06Clients expect quick and efficient editing processes.
Clients vary in willingness to experiment and give creative freedom to colorists.
Different projects (commercials, films, TV shows) require varying levels of time and effort.
Speaker is working on a visual effects show for Netflix, highlighting diverse nature of projects and unique challenges.
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Discussion on creative freedom and artistry in TV show production.
59:43Studios allow for unique transitions and cinematic quality in long-form shows.
Creating custom transitions involves editing and color correction to build unique looks.
Enjoyment in pushing creative boundaries and collaborating with colleagues to create visually interesting content.
Appreciation for the 360 creative approach and available resources in bringing projects to life.
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Conclusion of the conversation between two individuals.
01:03:04Speaker expresses gratitude and appreciation for the time spent together.
Thanks the other person for the invitation and expresses how great it has been.
Warm farewells and well wishes are exchanged between the two individuals.
00:00welcome to the color code my name is cin
00:02Kelly and I love talking to people about
00:04making and shaping motion images my
00:07guest today is sigy FAL senior colorist
00:10at company 3 and one of my favorite
00:12colorists in the game with credits
00:14including Wednesday Naros the boys Togo
00:17Lost in Space and so many other amazing
00:20looking projects we had a fantastic
00:23conversation about sigy's long journey
00:25in this business and how he's managed to
00:27continue to innovate his craft for all
00:29the many years that he's been doing this
00:31before we dive in today's episode is
00:33brought to you by portrait displays who
00:34make amazing calibration products they
00:36the products that I rely on to keep all
00:38of my displays accurate and uh
00:40performing as they need to for my
00:42clients so I'm super proud to have them
00:44as a sponsor for this show now without
00:46further Ado let's dive into my
00:48conversation with sigy f oh boy I'm
00:51really excited this morning I'm joined
00:53by sigy FAL senior colorist at company 3
00:56and another colorist with a resume that
00:59is two step to even begin to Rattle off
01:01half the credits on there but some of my
01:03favorite shows the boys Wednesday narcos
01:06uh so many cool movies in there as well
01:08excited to have you on the show Siggy
01:10great to be here yeah yeah um yes it's
01:15uh it's a there's a lot of titles
01:18there yeah um yeah I mean it's it's you
01:22know uh started back in 82 so it's been
01:25a while 82 82 yeah okay what did it look
01:29like to do your job in 82 it was kind of
01:31fun because it required a lot of uh um
01:37technical now to kind of get the
01:40equipment to behave and and work the way
01:42you wanted it it's not just like a what
01:45we see as computers right now it's um um
01:49the the pro the the the first color
01:52character I ever used um used punch tape
01:56to trigger the the the the color
01:58Corrections on the on the tesini so
02:02there was no real communication apart
02:05from like stop and play uh between the
02:08the color corrector which is Hardware
02:10based and the the jump scan talini back
02:14then um so uh there was no things like
02:18time code uh it was all Q
02:21tracks um so we were sending Q points
02:24from the telini to the color corrector
02:27and then the color corrector we would
02:29literally
02:30have a strip of paper with punches on it
02:33and that would trigger the uh color
02:36correction and it was very simple it was
02:37just like primary
02:39correction um uh like lift gamma gain
02:43but maybe some secondar some really
02:46simple secondaries and um so it's a it's
02:50a completely different world from what
02:52it is now that's I mean I actually
02:54didn't know that that was where the like
02:57headwaters of color correction are I
02:59mean that's really just an inch away
03:00from traditional color timing yeah I
03:02mean that's that's exactly how color
03:05timing was is is with that original
03:08punch tape you know I remember getting
03:09rules of of print film and that in the
03:12can was a strip of punch tape that
03:15correlated to the the color timing of
03:18that rle of film right um so we were
03:20essentially the same thing but you know
03:23in a you know off AEL c yeah so I guess
03:27the only real difference is it's it's
03:28landing on a like sensor instead of on a
03:32piece of film yeah exactly um so you
03:36know so it was a very different world
03:38back then and then there was you know
03:40iterations uh you know of color corrects
03:43uh color correctors that were more
03:45advanced like U moved on to the dubna
03:48color corrector and then the the classic
03:51uh Da Vinci res not resolve or the
03:53classic Da Vinci right um and then uh uh
03:59I I think I've literally hit every uh
04:03version of uh Da Vinci color correction
04:06uh
04:07corrector um
04:10pogles uh bass lights um so broad broad
04:17spectrum of color correctors so to get
04:20the the back in those early days to get
04:23the the image quality things would drift
04:25so if you would if you started a session
04:29at 9:00 A.M a.m. by midday 2: p.m. the
04:34color would have drifted within the
04:37telini um
04:40because because of the um the technology
04:44back then just wasn't stable uh so you
04:47would have to go in and tweak the uh the
04:50adjustments on the telini with a little
04:53you you would walk around with a
04:55screwdriver um and you would adjust the
04:58the RGB levels coming out of the telini
05:00to to compensate for that drift um this
05:04sounds made up this sounds 100% made up
05:07no no so your color correction would
05:09would would be the same as as you
05:11started so um and then you wouldd have
05:15uh uh you'd have dirt issues that would
05:18fly in on you know from the CRT
05:22scanner um so you'd also not only walk
05:26around with a little little screwdriver
05:28but also a paint brush to to paint the
05:31uh the dust off the front of the
05:34CRT um so there was a lot of like
05:38almost mechanical labor to to get it
05:42working um uh would uh record onto 2in
05:47tape and um back then in an in an analog
05:51world one of the highest quality images
05:55within the post house was coming out of
05:57the telini it was full RGB right wasn't
06:00going to an analog 2 in or 1 in tape so
06:05when it came to chroming we had an
06:07ultimat actually in the telin bay gotcha
06:11we would be piping the the image out of
06:15the telini we color correct it and then
06:18we have a background playing off a a 1in
06:22tape or something like that and doing a
06:24key and in live in the bay in line the
06:30flow there yeah we would sync the the
06:32foreground and background using Q points
06:36and then record it on a on a a second
06:39tape machine wow um so we would did a
06:42lot of commercials and music videos that
06:45way it was all
06:48composited in a in a sense um in in the
06:52tels EB and is this primarily negative
06:55that you're working with like film neg
06:57that you're on or is there some cases of
06:59video Source no there was very little in
07:03color correction there was it was only
07:05ever feat uh
07:07film right um never any sort of
07:10electronically shot footage yeah and I
07:14guess that's part of like that just the
07:16interesting journey of all this like
07:18film to digital transition is it didn't
07:20happen it didn't hit all the phases at
07:23the same time like you were pioneering
07:25the post side of things in the 80s and
07:28like Digital Cinema cameras didn't start
07:30to become viable for another 20 years
07:33yeah from there moving forward to sort
07:35of the late '90s early
07:372000s um when when
07:41technology reached a point where we
07:44could actually start doing um D or
07:49digital film as they used to call it
07:53um and we were able to scan and um
07:58manipulate the colors I mean I remember
08:00you know in the mid 90s we knew it was
08:02going to come and um I remember I was
08:06working in Sydney at the time and um uh
08:11Phillips who had the data back then um
08:15was holding these courses in Paris about
08:17digital film and that was um uh was all
08:21said in uh the post house that did like
08:24um her brother wear out there and a
08:27bunch of ear those early
08:30um like first right so they held this
08:34course over this weekend so I literally
08:36flew from Sydney to Paris for the
08:39weekend um so it was actually in the air
08:42longer than I was on the ground but oh
08:44my God it was such a eye-opening um
08:47experience and it really introduced me
08:50to doing dis um and then I knew then
08:54that's what I wanted to do
08:57so we um um we the place I worked at we
09:03we bought us a spirit data C I think
09:08back then you know color correctors were
09:11still hardware and we we used I think it
09:14was it's hard I can't remember but I
09:16think it was used uh a da Vinci
09:19splice and I don't probably not too many
09:22people remember splice but um it was
09:27essentially this Hardware
09:30system uh that you would capture the
09:35data coming out of the the the
09:37spirit and then it also would
09:40communicate with the da Vinci
09:432K um and uh do a loop through uh so you
09:48could color in full RGB 10 bit
09:54uncompressed uh through the 2K in a
09:57digital sense oh I see so that's your
10:00first step away from like a telesine
10:01where you're having to go to tape or
10:03anything like that okay so um one of the
10:08first films I did was um House of Flying
10:13Daggers and uh it it wasn't it started
10:17off just to be the the filmmakers
10:20reached out and they said we just have a
10:22couple of scenes that we want to do some
10:24adjustments on they were so blown blown
10:26away by the results those scenes like
10:29quickly grew we we we didn't do the
10:32entire film but the the amount of scenes
10:35we did like probably tripled um from
10:37their original ideas and
10:40um uh I don't know if you remember the
10:44film but there was like yes the it went
10:47through different um uh Seasons so you
10:52had the fall and and we took a lot of
10:55the the greens and and and turned them
10:58into like gold like gold leaves and and
11:02uh they had these um bamboo forests that
11:05were quite dark and it came the bamboo
11:09came up very blue and dull and they
11:12wanted this kind of fluorescent You Know
11:14Rich uh new vegetation
11:18green um so we we did a lot of these
11:22scenes and
11:24um it uh it was back then we there
11:28wasn't a we weren't on a projector we
11:31were we were on a a calibrated
11:33monitor um that we calibrated to the lab
11:37at the time and um that entailed
11:42basically um getting these uh scanning
11:45these uh film patches like essentially
11:48like color bars and like grayscales and
11:52the old Marcy of you know face and
11:56sending it to the lab getting them to do
11:59a film record process it y process it
12:02print it and then send it back to us and
12:05then us looking at that those prints on
12:08a light box and adjusting the monitor to
12:12what we saw on the light box oh wow so
12:15you're not we're not even there with
12:16like Luts yet no oh my God no so that's
12:21that was like that was early early days
12:24yeah so it was all like no way it was
12:26100% accurate but I mean the results
12:29were stunning and the
12:31cinematographer um was nominated for
12:34Academy award that year for for for that
12:36film so you know uh it did look the
12:40results were looked amazing great and so
12:43the the first time you were seeing a
12:44print of it was that really your first
12:46time truly seeing the work you'd yes
12:50done yeah yeah wow yeah that is amazing
12:53yeah okay so like we've already covered
12:57so much ground and the the thing that's
12:59going through my head as you're telling
13:01me all these Amazing Stories is I'm
13:02thinking about like I'm thinking about
13:04your hands and what you're seeing like
13:06the the like interface that you're
13:07working with and the knobs that you're
13:08reaching for and what I want to know is
13:10how do you know how to do that who
13:12taught you to do what you were doing in
13:14those early days did you just figure it
13:16out kind of on your own uh well I had a
13:20mentor um you know experienced colorist
13:23and um
13:25and uh I I always remember the the the
13:29exercise of of of learning to color and
13:36they
13:37basically
13:38said it's all about you know the
13:41contrast and getting your your your
13:43whites and your
13:45shadows accurate um so I
13:50remember the an an early exercise that I
13:53did was they just gave me some black and
13:56white footage to color so initially it
13:59was like made me think
14:02oh I ignore color it's all about
14:06contrast uh so get the contrast right
14:09and consistent at the end of the day
14:12there are no it's there is no bad color
14:15it's just what's bad is inconsistent
14:17color right so
14:21um uh getting contrast levels right and
14:25consistent is was the first thing I
14:28learned
14:29and then once I got the hang of that and
14:32understood contrast the importance of
14:35contrast then I introduced you know then
14:37they introduced the color and then that
14:41that uh and then that expanded from
14:44there so for me it was more
14:47like narrowing my focus and then just
14:50building upon that and that's same today
14:53when I get a new tool it's like I have a
14:57I have a set of go-to tools that I do
14:59use now like all the time and then uh
15:03you know I work on a um a resolve black
15:06magic resolve they're introducing new
15:08tools all the time right so uh it
15:10doesn't mean I go out and use all those
15:13tools straight away um I uh usually get
15:19comfortable with one or two tools and
15:21then slowly expand I I I wait to the
15:24right moment um to use it so rather than
15:26just use them all all all at once kind
15:29of get yourself tied in or not but boy
15:31can you ever so you know that's how I
15:35learned and um you know uh that's how we
15:38um back in the day I had definitely
15:40mentors I was I was quite young back
15:43then so um I was just in awe of everyone
15:46so I think that lesson still holds me in
15:49good stead now I mean that it's it's
15:52amazing that that's the one that that uh
15:56come leaps first to mind for you because
15:58that like if we think about what you
16:00described to me when we started this
16:01conversation like oh yeah we're using
16:02punch tape and like you know it's such a
16:05foreign thing seems so different than
16:06what we do now sure but what you just
16:08said about like nailing contrast and
16:10like blackpoint and white point Y that
16:13resonates so big with like I feel like
16:15every time I get into trouble and and
16:17lose my path when I'm color grading it's
16:18because I'm forgetting to get that
16:21foundation in place you just go back to
16:23the basics yeah yeah yeah 100% wow
16:26that's very cool yeah okay so the next
16:29one that comes to mind is when I'm
16:30thinking about like you know controlling
16:33foliage like you were talking about for
16:35example in the tools of the time do you
16:38remember like what was the is that like
16:40a matrix operation like what was the
16:42what was the knob you're talking about
16:44folage and stuff like yeah like when
16:46you're rotating the H like the bamboo
16:48thing you were talking okay yeah um so I
16:51mean well that was a da Vinci 2K back
16:55then so it had you know the qualifi
16:59is
17:00essentially yeah it's essentially what
17:02we have today in in the resolve I don't
17:05think it was too
17:07different
17:09um uh so it was like you know Hue
17:13saturation
17:14luminance uh I don't think you could use
17:17primary correction through it it was
17:20just um once you had isolated then it
17:22was like saturation Hue and luminance
17:25adjustments M um so it was a lot of lot
17:28of hue adjust ments Got It ultimately
17:30yeah that makes sense every era has its
17:33challenges right um and you know even
17:37now that we have so many more tools um
17:41it doesn't M make it any easier uh or
17:44quicker I mean you can do what you used
17:46to do back in the day
17:49quicker but because you have an expanded
17:52tool
17:53set it allows you to do so much more and
17:56and that's what's so exciting about it
17:58right yeah um and uh technology is
18:03moving so fast um and sometimes I
18:09find uh clients they are thinking of
18:12color correction in the traditional way
18:15and they're not really allowing you to
18:18to fully expand unless there's a real
18:20need for it like for you know Beauty
18:22work that we do like the amount of
18:25beauty work we we do now compared to say
18:28five years ago is is just exploded um
18:33because clients realize how much more
18:36you can do in color correction yeah it's
18:39it's the tools are the tools are
18:41incredible and and uh you know I'm
18:43working on a job now that I'm really
18:46excited about and I'm pulling a lot of
18:49the tools out of the box um you know I'm
18:52doing I'm using glows all the time uh
18:56it's one of my favorite tool tools um
19:00non-traditional tools um lens
19:04Reflections um um all all those sort of
19:09things to kind of dirty up the image so
19:12to speak make take the Purity out of it
19:16um and uh you know then there's like the
19:19you know traditional grain and and and
19:23those sort of textures and things like
19:25that that you can add as well but um
19:29this this particular shows you know a
19:32lot of it shot on on stage on volume
19:34wall so we want to take that stagy look
19:37out of it so it is we don't want to end
19:39up with a grungy image but we just want
19:42to like break it up a little bit and and
19:44and take the the Perfection out of it
19:46you know the flatness out of it so oh
19:49man so many so many things I want to ask
19:51you about there I mean like yeah first
19:52of all that it's it's really cool to
19:54hear you talking
19:55about over time incorporating all of the
19:58these like new tools and you know like
20:01capabilities that are available in
20:03modern color I mean I feel like you have
20:04that reputation and track record of
20:06being a a like very thoughtful but
20:10radical adopter of stuff you're like hey
20:12if that works I will use it yeah type of
20:13colorist and we both know colorists who
20:15are like nope these are my things and
20:17that's all I'm ever going to touch and
20:19that's fine you know um they they just
20:21touch the three tracka balls in front of
20:23them and that's great um you know I'm
20:26I'm not like that I go to the the
20:29toolbox um to to to to figure out okay
20:33what can I do with this um and adapt it
20:36to what I'm doing
20:38yeah so cool yeah one thing that uh
20:41stuck out to me that you mentioned a
20:43minute ago is when your client walks
20:45into the room they have an idea of what
20:47color grading or what color correction
20:49is sometimes it's right in line with
20:52like what you're able to do and what you
20:53feel like you can bring to their project
20:56sometimes like you said maybe it's not
20:58maybe they're in like a 20 years ago or
21:00a 10 years ago sort of mode yep how do
21:03you like work with clients who are
21:06coming from all different sort of PS
21:08yeah it it's um sometimes you have a
21:11client who who knows exactly what's what
21:14what they want and they'll kind of like
21:17tell you and lead you to what what
21:21they're after MH um then you have other
21:24clients that you have shot something and
21:28they've gone they've shot it in this
21:29direction and then they've kind of
21:31looked at all these looks and styles and
21:33say well I want to move this film that
21:36I've shot and make it look completely
21:39different and that sometimes is a little
21:41difficult because you're really
21:42wrestling with the core yeah the nature
21:45of the image yeah and then you have some
21:48clients that come to you and really want
21:51to collaborate with you and
21:55uh I'm shooting this film this is what
21:58I'm thinking thinking you know so you
22:00can really have a discussion about it uh
22:03you can talk about lenses you can talk
22:04about Luts um do film tests um uh and I
22:11I ultimately I think that's the most
22:14beneficial way because then then you're
22:18working with the filmmakers you're on
22:21the same page before you even start
22:24shooting um and I think it's reflective
22:27between you know all the way from
22:29shooting through dailies uh to final
22:33color because you also have that issue
22:35of of if daili isn't really looking how
22:39they want it to be everyone gets used to
22:41it it's always a struggle to change it
22:43you know it's the whole like people get
22:46used to looking at it and that they
22:47think that's their film that's my image
22:49yeah yeah yeah but often it's not if
22:51it's badly done um uh so that is that is
22:56always a it's always consideration I
22:59mean
23:00you I enjoy collaborating with the
23:04filmmakers um um especially like a lot
23:08for instance um the way I the way I look
23:11at a lot is is is a a lot to a colorist
23:17is like a lens to a
23:20cinematographer and let me explain what
23:22I mean by that is that a cinematographer
23:24has a camera they they they'll choose
23:26their camera and you put a really nice
23:30sharp lens on that c camera you can you
23:34know point that lens into a light and it
23:36it has minimal flare it's sharp from the
23:39center right to the
23:41edges and it looks great or you could
23:45put an anamorphic lens on there or you
23:48could put a vintage lens on there and
23:51it's all all of a sudden the image is
23:53softer there's resolution drop off point
23:57into a l light it flares it has
24:00aberration it's so so you know they're
24:04throwing all that contrast and
24:06resolution away why because it's of the
24:09look and the feel of that lens right
24:12just because you're throwing stuff away
24:14doesn't mean it's a bad thing you know
24:17what I mean so so it's a stylistic and a
24:20feel right so for a lot it can be the
24:23same thing for a colorist you can put
24:28you know let's take AR camera for
24:30instance you can say take a K1 S1
24:33standard a lot and it's going to give
24:36you the best looking
24:38image for that ar ar camera MH gives you
24:42all the color gives you nice deep blacks
24:45highlights it's exactly how the
24:47manufacturer intended the images to look
24:50mhm you then switch that out and say put
24:53in say a film lot the blacks aren't
24:55quite as deep the the highlights roll
24:58off
24:59early the colors aren't as
25:01saturated the Hues are different like
25:04greens roll yellow in the highlights
25:07Blues go cyan yellows go warmer like you
25:11essentially throwing all that color and
25:14contrast latitude away but why for all
25:19that look and feel right
25:23so that's why I always think of them as
25:26as as similar like a you know the lot to
25:29colorist oh that is fantastic so
25:32filmmaker or cinematographer comes to me
25:35and says I have this show like I just
25:38finished this show um and it's probably
25:43one of the most creative lots that I've
25:46produced for a
25:49show um and I I feel sometimes it's it's
25:54good to have a little bit more latitude
25:56up your sleeve when it comes generating
25:59lot but then there's times that you know
26:01you you you don't want all that ladage
26:03you do want to throw
26:05that those those lat that Latitude away
26:09and force your hand into a certain way
26:11CU you're always coloring through a lot
26:14so if if it if the lot is a restrictive
26:17thing um then is like well how
26:21restrictive do you want to be up front
26:23you know what I mean so so it's always a
26:25bit of a challenge um
26:28but you can you know on this particular
26:31uh film I was I was able to you know
26:34they wanted a
26:37um uh the this this the
26:41cinematographer gave me a reference of
26:44uh it's like uh slim Adams um poolside
26:48photo was shot um in the late 60s early
26:527s I
26:53think and um uh looked it up it was like
26:57cod Chrome um so it kind of had that
27:00film I don't know how it was it was a
27:02steel it wasn't motion picture but so I
27:05don't know how it was printed but um I
27:08kind of knew the the film stock that
27:10they were using so I was able
27:14to speak to my you know we have a at
27:17company 3 we have a color science
27:20department and they're great uh when it
27:22comes to building a lot so uh you know
27:26one we have thousands and thousands of
27:29lots there and you know all the films
27:33that we've done at company 3 we have a
27:36history of that so not only can we pull
27:39from those lots we can build our own
27:43um so for this for this show I I
27:49basically
27:50took um I think it was a ay show so I I
27:55basically took the basic K1 S1
28:00and then I found the the film
28:02L that best matched the code code Chrome
28:06look of of the
28:08still
28:10and combine
28:12them um CU what I wanted was you know it
28:16was because everything gets colored in
28:18HDR so you know it has a has a a newness
28:22about like a modernness um so you want
28:25to have the range of of say the uh HDR I
28:29mean sometimes you you know you never
28:32really want to go to 1 th000 nits but
28:34whatever knit range you wherever you
28:36want to go whether it's like three four
28:38500 net range then obviously the black
28:41so I I always kind of like starting with
28:44the with the film with the camera lot um
28:48and that gives you the right amount of
28:50rolloff in the highlights and in the
28:52shadows and The Gamers kind of suits
28:54that camera so yeah but what I did was
28:57take some some aspects of a film lot
29:00that uh I wanted and combined them so I
29:04took the the color values of the film
29:06lot and combine that with the the
29:08luminance values of a of a traditional
29:10camera lot um cool and and it you know
29:16and then there's still choices to be
29:17made how how how what sort of white
29:20point you know color temperature you
29:21want your wife Point whether you know
29:24you want to be clean d65 or maybe a
29:27little warmer than that and then adjust
29:29it and
29:30then uh you obviously then have to check
29:34make sure your whites you know when it
29:37rolls off it's exactly how you want to
29:40roll off and check it in bright
29:43scenarios pointing to lights um make
29:47sure there's the there's no real bad
29:50clamping issues sure blacks need to roll
29:53off hit black cuz you know at some stage
29:57you you will need to
29:59hit uh pure black at some
30:02point um so that's important and then
30:05the color uh which you're taking from
30:07the film lot you also need to make sure
30:10like high high saturation High luminance
30:14colors like I don't know it's like a
30:15fluorescent sign or doesn't clip or
30:19clamp in strange ways so um and once
30:24you've got all that together you then
30:26combine that and uh
30:28I you know I did that all in the color
30:30corrector and the other thing is mixing
30:33these Lots or these yeah lots and
30:37combining them in the color C you have
30:38to be careful because some some some
30:40things can't come across when you build
30:42a lot right um uh or build a cube so you
30:49you have to check your work and make
30:51sure nothing's broken so there there's
30:54some trial and error definitely and I'm
30:56sure this is part of what you r on your
30:58color science team for to support you
31:00and figuring out yeah refining it
31:03sometimes I like push it a little far
31:05and I'm like I go did I break anything
31:08do I can you check this like they and
31:11they like you know like oh no it looks
31:14good and you know or no this you really
31:16should went too hard yeah there's a
31:19little bit too much compression in the
31:20blacks here or or or you know they'll
31:23make you maybe they they'll make you
31:24aware of stuff you know I mean and then
31:26you're like start questioning yourself
31:27self and go back and tweak yeah but you
31:30know that's what they're there for and
31:32they're great to lean on um on those S
31:36situations yeah you obviously have a
31:38you've got some of the the best color
31:39science for talent promotion Imaging in
31:42the world the company th yeah um I mean
31:45that's super cool like so many things
31:48are standing out to me as you're sharing
31:50all this but one of the biggest things
31:52is we're hitting already for the second
31:54time in our conversation on like trying
31:57to figure how to put this like you're a
31:59colorist and your images like to me one
32:02of the the like Hallmarks of your images
32:06that and on the projects that you work
32:08on is like you're really using color and
32:11they feel colorful and Rich and
32:13separated and uh vibrant but we've
32:16talked already about like the emphasis
32:18on contrast over color and nailing that
32:20at your foundation Y and you're talking
32:22about skewing and selectively discarding
32:25or compressing colors in Pursuit as like
32:29core parts of your process forgetting
32:31what I'm talking about yep that's very
32:33counterintuitive yeah I
32:36know um what I love about color is that
32:39it's just an experimental process and as
32:41I said earlier there's no bad color you
32:44know what I mean so it's it's choosing
32:48the right color for the right
32:51show um whether it's more
32:55grounded um traditional type booking has
32:59weight in it MH uh limited color palette
33:05or something more modern that's like you
33:07know using HDR to kind of really
33:10brighten give you a nice dynamic
33:14range a really clean white Point that's
33:17totally neutral deep blacks um more
33:21saturation you know what I mean so it
33:23yeah there's so many things that uh
33:26choices to be made
33:29um and choosing choosing the um you know
33:34the lot is just the beginning right so
33:36you always you know when when you are
33:39choosing a lot it's a it's always
33:42like um do you do it in the L or do you
33:45do it in the color corrector right so
33:48even though you want to have the create
33:51this world with the lot uh and with your
33:55color science department you don't want
33:57to
33:58put one hand or arm tight around your
34:01back and you don't want to overcook it
34:04right so um like saturation for instance
34:08you know a lot of people love a
34:10desaturated image but it's saturation uh
34:13is not one of those things you should be
34:15dialing into a lot because it's such an
34:18easy operation color correction wise
34:20it's just going to you know hamstring
34:22you down the track you know what I mean
34:25so there's certain things you pick and
34:27choose to to to put into a lot um
34:30because lot's not just a color
34:33correction it's it's it's it's the
34:35boundaries of your color color palette
34:38or World sure yeah and of course it's
34:41going to end up biasing your production
34:44counterparts decisions either in a good
34:45or bad Direction yeah and you can be
34:48fighting like if it's a bad lot
34:50sometimes I've been handed a lot like
34:52the DB like I want to use this lot it's
34:55like so you're you're constant fighting
34:58against that L right who's coming to you
35:02and saying I've got the L I don't think
35:04you got this sigy I've got the L yeah I
35:07mean everyone's different everyone is
35:10different so um and look it doesn't
35:13happen that often like if it's if it's
35:17that broken I will I'll reach out and
35:20say you know this is going to be
35:21problematic sure but you you want to
35:24respect their wishes and you maybe
35:26they've used it in the past
35:28and um that may have suited that film
35:32but every every film is different so
35:35yeah well and it's you know back back to
35:37uh the theme of like how our production
35:40creatives relate to color correction
35:42that can often be like a I feel like
35:44like a security blanket of like I know
35:46this L I know what it does I like what
35:47it does and so I feel like I have I can
35:50exert a little control over the process
35:51if we're using this L that right has
35:53been with me for a while I guess that
35:55makes sense yeah interesting okay I've
35:58like there's there's so many so many
36:01projects of yours that I want to pick
36:02your brain about um one of the first
36:05ones that comes to mind uh just because
36:06I was I've been taking a look at it
36:08recently is the boys right the boys you
36:12had an absolute party with the color in
36:14there like the color is such a part of
36:16that storytelling yes because you're in
36:19a world that's somewhat elevated like as
36:22the Baseline but then there's like
36:24movies within that world Hollywood
36:28blockbuster movies within this elevated
36:30world and the color cues like it tells
36:33me where I am like it's really a
36:35narrative device there yeah I mean tell
36:38me about like the the process of
36:40Designing the I'm sure plural looks for
36:42that show and how it evolved yeah I mean
36:46uh when when I did the pilot uh the
36:50filmmakers reached out to me and said
36:51you know we want this like really it's
36:54kind of it's dark it's gritty they
36:56really want one wanted to push the look
37:00of the show um so there was a lot of
37:05work done up front with the lot and and
37:08uh I remember I remember I was actually
37:10in uh the show was shoots in Toronto and
37:13I was actually shoot I was actually
37:15coloring a film in Toronto at the time
37:18when they were so it was perfect timing
37:20um they came in to the office and
37:24um we we went through a whole bunch of
37:28lots and uh it was a it was a really
37:31Hands-On process um and showing them
37:35like some options and they just wanted
37:38to push it more and more and more cool
37:40um so I was very excited but you know I
37:44was also in the back of my mind it's
37:46like is this are we going too far here
37:49right like often filmmakers are all
37:52excited about the show and they want to
37:55push it but you know after they shoot it
37:59and were in post the reality is is like
38:01you know the studio mate like it's all
38:03too dark or it's all this all that um so
38:08you always have to leave a little bit up
38:11your sleeve and um not put all your eggs
38:14into the Lut
38:16basket um
38:18so so yeah it was that that was the
38:21initial initial part of that process and
38:24then um which set the tone for the show
38:29uh cuz we we really nailed a good lot up
38:33front which was used for the da process
38:36so everyone was from from the get-go was
38:38and they're shooting through that lot
38:39I'm sure and like lighting based on the
38:42higher ratio of it absolutely yeah so
38:45which was which was perfect cuz then you
38:47know they could make they could see on
38:48set if things were getting too dark or
38:50too contrasty or whatever right so they
38:52could comp comp uh compensate on set um
38:57and then then the post process you know
38:59they
39:00have these uh anyone who's seen the show
39:03they have these cutaways to like you
39:06know on air Studio
39:09looks um and then they have like the VA
39:13feature film which is even pushed even
39:16further and they usually have like a a a
39:20more of a washed look like the the VA
39:23feature film has a sort of almost to a c
39:27but like with with some color colors
39:30peed in there yeah and then we we pump
39:33up the the texture of the grain um to
39:36really contrast it with because with the
39:40with the show because the show generally
39:41has there's a lot of Blues and cyan and
39:46greens so it really is a cooler palette
39:50so going warmer for the
39:53um uh for the feature film type cutaways
39:57uh contrasted really
39:59nicely uh the show also is has a you
40:03know we're sitting probably like a 30
40:0730% um desat level on it so everything
40:11has a certain level of desat and then
40:13when you cut away to the on air Studio
40:16we are full
40:18saturation um and you're probably out
40:20from underneath any kind of FP or like
40:24that yeah and we we dial back the
40:26contrast we actually don't even we use a
40:29we actually use a regular uh camera lot
40:31for that yep um so we have the color
40:36range is all you know is all there
40:39saturation brightness M um it's you know
40:43we're we're we're emulating a sort of a
40:46news presentation type type look but by
40:50the way you're still making that look
40:52good which in my like the so much of
40:54what we talked about thus far like a
40:56nice like strong midone contrast and a
40:58good roll in the bottom and the top and
41:00some confined print gam type stuff
41:02that's like a good recipe for like
41:04that's a great place to start with color
41:06grading doing that broadcast look but
41:09still making the images look great like
41:11you do that really really well yeah you
41:13also have to be a little careful is that
41:15you don't want to take the viewer out
41:17like it doesn't it needs to be different
41:20but it still needs to be in the boy's
41:22World interesting
41:25without really taking you out like being
41:28so like hitting you over and like oh
41:30what am I look what am I looking at now
41:32like why am I looking at like so it
41:34still has to have uh certain elements um
41:38of what what things are um so it is
41:42there is a balance to that gotcha um so
41:45is there like maybe like a little kiss
41:48of like a maybe a lot that's being used
41:50elsewhere but just scaled back yeah well
41:53not a lot more more for this more color
41:56correction like maybe maybe a hint of of
41:59coolness in the blacks or something like
42:01that got it uh just to attach it to
42:03where it's come from um especially if
42:06it's a if it's a TV screen within the
42:09image um it still has to live in the
42:13same world in that world yeah yeah um so
42:16there's always a fine balance got it
42:18yeah I I I derailed you I just had to
42:20jump in because that's that I always see
42:22you do that well and I always admire it
42:24because that's that's hard like the
42:25broadcast clean
42:27modern quote unquote look making that
42:29feel good still yeah yeah and um you
42:32know so there's there's a a lot a lot to
42:35the look they're great filmmakers to
42:38work work with and they're they're very
42:40open to you know let letting you do you
42:43know do your thing and um once once we
42:48especially after like the pilot and the
42:50first few episode they let you go to to
42:53do your thing obviously uh being aware
42:55of faces and details cuz you you know it
42:58is a dark show but you still want to see
42:59people's eyes uh and expressions that's
43:02an important thing so at times there's a
43:05some windowing you know uh eye
43:08protection um uh trying to get a little
43:11ping in their eyes just so that you know
43:13you see the emotion um um and then
43:18there's you know a lot of shaping
43:19windows and things like that so um uh
43:24yeah it's
43:25uh you know it it allows you to the show
43:29allows me as a colorist to really
43:32Express sort of sort of the range of of
43:36of colors and palettes and you know
43:39really have some fun with it you know
43:40what I mean without um without uh
43:45being uh too sort of re regimented it's
43:49like uh it really gives you a little
43:51little flexibility it's the perfect show
43:53really to work on it's fun um the people
43:57are fun the crew's fun so uh and you
44:00know if you're into that sort of humor y
44:04uh it's it's great to watch yeah
44:06absolutely great great show and and
44:08great collaboration between you and the
44:11filmmakers um okay so another project
44:14that comes to mind as we're talking
44:15about all the different ways that you
44:17can shape color depending on Creative
44:19intent and frame contents and all that
44:21stuff Wednesday has like a really unique
44:25different look than a lot of your other
44:28uh projects that I've seen tell me about
44:30that that show yeah I mean that one is
44:34uh you're right I mean um I went with a
44:37more of a cleaner traditional look MH
44:40cuz I saw the images or the test frames
44:44that uh David lanzenberg the
44:47cinematographer was shooting and lent
44:49itself to once again it lent itself more
44:52to um using a more traditional or
44:56regular
44:57uh camera L I think there was some
44:59slight tweaks to it but not it wasn't I
45:03wasn't too heavy-handed on that one uh
45:06and we wanted to create a world where
45:12Wednesday and her
45:15family were in this kind of more monoch
45:19chromatic world compared to the world
45:22around them the world that they lived in
45:24and um without sort of of going too
45:28obvious so it was more of a subtle thing
45:32um just with uh Wednesday's skin tones
45:36uh the The Adams Family were always
45:38dressed in like black and white type
45:41tones so any any no
45:44color um and in Wednesday's bedroom or
45:48dorm it was um uh her side of the room
45:52was
45:53monochromatic uh so there was always
45:56this subtle shift of um uh
46:01desaturation I mean not it Just
46:04marginally compared to everything else
46:07around her um just to give it just a
46:11hint of differences and that was that
46:13was kind of the main the main thing
46:17theme throughout um and that's I'm sure
46:20more of a correction than anything
46:21you're hard baking into a lot right
46:24correct yes it was yes exactly right so
46:28wanted um you know the the white the
46:32white points were just a really clean
46:35d65 and in HDR it was it
46:39was probably I think around 450 nits I
46:43think the white values so a little
46:46higher than you know sometimes I go down
46:49to like 350 um so it's a little higher
46:52and more pushed
46:53cleaner um the colors like there's
46:56there's in there that are like really
46:58popping primary like unconstrained yeah
47:01that opening scene for instance in the
47:03in the pilot where they're driving uh to
47:07Nevermore and um you've got these uh
47:11beautiful like full leaves everywhere
47:14and like the saturation of that um and
47:18by the way they did did some pickups on
47:20that location and it wasn't full they
47:22were all green oh you had to break out
47:24your old tricks so I had to it's like
47:28yes make make there was a few cutaways
47:31that um we had to grab some of the
47:33greens and and make them fall and it
47:35worked really really well W never would
47:38have known yeah and uh so you're in this
47:40like colorful
47:42location you got this black car driving
47:45down the road and then you cut inside
47:47and um uh everything's monochrome except
47:52for these velvet red velvet uh seats in
47:56in in this car and um they they weren't
48:01that Poppy and I was like oh wouldn't it
48:03be nice just
48:04to um so rather than desaturate them I
48:08actually enhanced the red so there was
48:11always that contrast so sometimes it was
48:14a matter of
48:15desaturating things and sometimes it was
48:18enhancing the color around them and it
48:21just depended on the
48:22scene um yeah it's definitely one of my
48:26favorite scen of of the show um that
48:29that whole opening um and uh you know
48:33and just making sure the blacks were
48:35really sort of Rich um and uh you know
48:40there's a lot of uh Blues but they were
48:43kind of saturated and probably more than
48:46I
48:46normally I would say so like you look as
48:50a fan looking at it yeah it's um a
48:52little little more saturated and and
48:54yeah so it was great working with with
48:57with Tim Burton as well um uh although I
49:00didn't get a lot of time with him uh the
49:03the times that we worked together was
49:05was great he had uh some you know
49:09working with uh such a creative
49:12filmmakers it's you always learn
49:16something yeah you're always learning
49:18something so just to get into their mind
49:20space and and uh understand what they're
49:23looking for and you know and and work
49:27with those those people um to to get
49:30their Vision on the on the screen yeah
49:32was great I mean that leads me to
49:34something else I I uh got to ask you
49:37about is
49:39like we've we've talked a lot in this
49:42conversation about craft and technique
49:44and you know like even just technical
49:46things understanding how to work the Box
49:48whether it's 1982 or 2023 right but like
49:51so much of what we do is like being in
49:53the room and being able to like make
49:56clients feel heard and get their Vision
49:58on the screen Y how do you like what are
50:02your principles for that how have you
50:03developed those muscles over the years
50:05yeah I mean a lot
50:07of color correction is about Comm
50:10communication and and you can have 10
50:15different people look at a image on a
50:19monitor and you ask them to explain what
50:23they're seeing in a color sense and
50:27I I bet you'll get 10 different answers
50:29back for sure so part of a colorist is
50:32is trying to understand what they're
50:34trying to you know communicate to you
50:38and there's this all always there's this
50:39conversion of like what are they saying
50:42like try and really understand them um
50:44so that that's like one thing and then
50:47there's like really listening to what
50:50they're wanting um uh it's always a
50:53little tricky when you have uh uh
50:58uh people in the film making area where
51:01they kind of want to push you in two
51:03different directions so then there's
51:05like
51:06usually you know a a discussion that
51:10needs to be made like are we going this
51:11way or we going this
51:13way and sometimes it's like well let's
51:15just sit on it and move on let's go one
51:18way and let like we'll move on and uh
51:21sometimes it's rather than just spin
51:23your wheels on one
51:24scene is set it
51:27and um move forward and then come back
51:31watch it uh and often it it it
51:36um it tells you in the end like this is
51:39not right or this is this this is a
51:41perfect fit um but it's often best not
51:45to get bogged down on on stuff
51:48especially if it's not right I I like
51:50move like moving on because I always
51:52find going back with fresh eyes helps so
51:55much
51:57especially if you feel that the scenes
51:59around them are dialed in sure then you
52:01can kind of watch it as a run and uh
52:05that trouble scene it's like maybe if we
52:08do go this way it might help you know uh
52:11make it a little darker or or uh needs
52:14to be a little more Poppy and and and it
52:16usually reveals itself eventually um
52:21just just don't be so impatient at the
52:24beginning sometimes it's best just to
52:25move on it's like a it's kind of like
52:28quicksand those things you get into it's
52:29like the longer you stand there the more
52:31you sink into not being able to get
52:34there what you want and and and
52:36sometimes you you're you know you you
52:38may not see it initially MH um you know
52:43uh you
52:45may have a preconceived idea what it
52:48should
52:49be and you think it should go down this
52:53path color-wise mhm and it's just not
52:56working it's just doesn't feel right or
53:00natural um and it can be just a a
53:04contrast thing um uh that it's just too
53:10dim or not bright enough or whatever it
53:13is um and it's often best to to move on
53:17and and you know give it a couple of
53:19hours go back and like usually it
53:21reveals itself it's like oh light goes
53:25off um it's just a discovery process a
53:28lot Mak sense and that that takes I
53:32think experience and confidence on your
53:34part to be like hey're we're going to
53:35get this just but right now we should
53:37put a pin in it and go move on something
53:39else yeah and sometimes the the the in
53:42the room it can be um you know if you
53:45got 10 people and they're
53:47like why to try this and try that and
53:50try that um you know and you you go
53:53through that process and um um
53:57uh
53:58often I I find that you know maybe once
54:03the session is over then go back and
54:04revisit just when you have some quiet
54:07time and and play around with it a
54:08little more sure and and you know uh if
54:13if if it's not you know you kind of feel
54:17that the client's still not quite happy
54:20with that scene or particular shot yep
54:25that makes sense cuz in the
54:28room when during a session you trying to
54:32often please everyone and and you end up
54:35with a compromise right and you've got
54:37to solve everything has to happen in
54:38real time yes when you're in the room
54:40it's they used they used to to that
54:42whole real time right yeah um you know
54:46if nothing's if it's not playing back in
54:48real time you got to cash it or whatever
54:51yeah
54:52um uh it can it can get in the way cuz
54:56people are just used to you know color
54:58being real time it's you know um but um
55:03and you can in that real ESS you can you
55:06can dial in a lot of looks very quickly
55:10MH um so yeah when you when you start
55:14having to when you have a lot of layers
55:16and a lot of things going on you have to
55:19be quite
55:20organized um because clients don't
55:23really like the whole waiting for cash
55:26yeah yeah or even just like that that
55:28room of like a colorist sitting you're
55:31going like could it be this or just
55:33sitting there and doing nothing for 5
55:35seconds while you chew on it there's
55:36like very little room for that when
55:39you're with clients I guess yeah no um
55:43understandably but then there's other
55:44clients that are happy for you to
55:46experiment and and they'll like
55:50just give you five minutes and see what
55:53you you know right and it's quite nice
55:55to have that little Discovery time and
55:57you know um
56:01or there's a scene and they they want to
56:04put
56:06um add a slight glow around lights to
56:10give it a little bit more atmosphere or
56:12the light you know the lights are are
56:15color temperature the lights are too
56:16pale they want them more sort of
56:18tungsten and you know so you might have
56:21to go through the scene and just balance
56:23out those lights it's good you know
56:25sometimes it's nice to they'll like give
56:27you that exercise to do yeah and take to
56:31do it you know they'll have five 10
56:32minutes and then they'll come back and
56:34watch it and it's a that's a nice way to
56:37work
56:38um so well I'm sure it varies too like
56:41on the we haven't even talked about like
56:43you do all kinds of different content
56:45like you do shows you do films you do
56:47commercials and I'm sure those you know
56:50divisions on those lines are different
56:51in terms of the clients who come in and
56:52what they need and you know how much
56:54time you have and all that stuff yeah
56:56very different I mean
56:59um a you know if you're working on a 30
57:02second commercial it can be you know
57:04it's very
57:06concentrated um you're in and out in
57:09like a handful of hours um uh so it's
57:13very fullon and usually you have a lot
57:16of voices people's opinions M
57:21um and it's great when everyone's on the
57:23same page but can be difficult when you
57:26know everyone wants something slightly
57:29different um so you you know as a
57:31colorist you have to na navigate around
57:34that
57:35um uh whereas um a feature film
57:42you you know it's a it's
57:45it's
57:47uh it's obviously a longer process you
57:50know you're dealing with you know 80
57:55hours on a smaller film to you know few
57:59hundred on a on a bigger visual effect
58:01show mhm
58:03um and um and then on a on a on a on a
58:09TV show it's that's kind of like a
58:11marathon you know I mean I'm working on
58:13a big visual effects show for Netflix
58:15right now and it's like you know it's a
58:1812-month process from when you
58:21start to the end for Eight Episodes so
58:26uh you got a commercial which is like a
58:28Sprint race um um but yeah it's uh and
58:33and you know I I Do I Do Love TV um
58:38there's so much
58:40um amazing contact out there now yeah
58:44and just the
58:47clients uh I and I think it stem from
58:50like Studios like the streamers like
58:53really allowing the filmmakers to have
58:56that creativity in post so I love
59:00working on uh TV shows right now like
59:04the studios really allow the filmmakers
59:07to to create these worlds and looks so
59:11many opportunities to Showcase what I
59:14can do so I really love working on those
59:17long form shows I mean it it shows and
59:20and the Artistry that you're bringing to
59:22those shows is what's really helping to
59:24elevate them to level of Cinema they
59:27don't nothing about those shows like any
59:30of the projects we've talked about they
59:32don't feel like TV yeah it's not your
59:35traditional uh network broadcast type
59:38shows anymore um they they're full-on
59:40creative uh and visually interesting
59:43shows I mean I feel like that's uh
59:46another great example of a theme that I
59:49see like in our conversation today and
59:51in all of your work like the end of the
59:53day you're you're you're just a creative
59:55like visual Problem Solver it takes so
59:59many different forms if it's like I am
01:00:01100% working under a lot I'm working
01:00:03free form like in your you know like
01:00:05early teles any days I'm on the edit
01:00:07page I'm on the color page I'm in a
01:00:08plugin like you're and it seems like you
01:00:11really enjoy all the different potential
01:00:13Solutions I love it yeah I really do um
01:00:18and um you know as you said some colors
01:00:21just want to color use their three track
01:00:24bows but I you know
01:00:26I'm like I'm that that artist who loves
01:00:31a
01:00:32challenge uh happy to take on things I
01:00:35probably sometimes I I find myself
01:00:38taking on something and then I'm like
01:00:41have I taken off more than I can chew
01:00:43but somehow get through it you know what
01:00:45I mean and now you know how to do that
01:00:47and now I know now you know I've ticked
01:00:48that boxs and now now it's I can do that
01:00:51um there's like a show on I'm working on
01:00:54right now where
01:00:56wanted uh a custom transition from a
01:00:59shot to shot it's goes from like reality
01:01:02to like a like a dream world and they
01:01:06wanted they had like a standard plugin
01:01:10like a glow dissolve or something and it
01:01:15just wasn't filmic enough
01:01:18so they asked me to build and create a
01:01:23transition so I you know I
01:01:26once again jumped into the edit page
01:01:28using some standard plugins but then a
01:01:32lot of that had I had to also do in the
01:01:36uh color corrector because they needed
01:01:38to be after the color correction right
01:01:41um so and some some had to be before the
01:01:44color correction so uh I created these
01:01:48custom looks where the image kind of
01:01:52distorts and you got this chromatic
01:01:54aberration and um then you got the
01:01:58dissolve and some some sort of soft soft
01:02:01glow and a and a more con um a tighter
01:02:05glow so multiple levels of glow um and
01:02:08they were like this is fantastic so now
01:02:11I'm like okay I got throughout the whole
01:02:13TV
01:02:15series every time we we do a flashback
01:02:18it's like we need to like so you know um
01:02:22but hey it's it was fun it's fun to
01:02:25discover and play around with that sort
01:02:26of stuff and yeah well I'm going to be
01:02:28watching uh whatever this show is
01:02:32someday soon and I'm going to spot it
01:02:33and go like that's what he was talking
01:02:34about yeah um man that's super cool I
01:02:37mean you've got like an amazing craft
01:02:40and a cool job and you know your
01:02:42collaborators are lucky to have that
01:02:44type of 360 creative approach uh as part
01:02:48of their you know like the resources to
01:02:51bring it to life so thanks so much for
01:02:53joining me I feel like we got to come
01:02:55back I know thanks for the invitation I
01:02:57know right we could we could be here all
01:02:59day literally yeah it's been great thank
01:03:02you thank you for being here so much man
01:03:04wonderful take care
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