Tom Evans

Any tips on how to approach a pastel palette when working with strong primary colors?

http://www.company3.com/seven-sundance-features-colored-company-3/

Hope you managed to get it to LA without too much stress! It seems from your feedback that Koji is nothing more than a marketing hype.

Any news on the internal media management tool after the latest updates, or is Collect still an option?

Can someone please list an ABC guide on how to set up DaVinci Resolve for ACES?

That would be great Dermot, I can't see how Koji could get closer to the various stock types than than the ones that Fuji and Kodak provides for free themselves.

Do you know what else the Koji LUTs offer other than the Fuji and Kodak LUTs that comes with Davinci Resolve?

Do you know what makes this image look so dirty and gritty? Is it because of the film stock or can this look be replicated in DI?

Digital Intermediate Producer (Los Angeles)The fundamental role of the Digital Intermediate Producer will be to manage projects, client expectations, work order tracking, schedule artists and coordinate deliverables through the facility. This person is responsible for meeting internal and external deadlines. The ideal candidate is the company representative for the project and the team leader executing the workflow plan.Key Responsibilities: Project manage and coordinate conform, data I/O, color-correction, home video, digital cinema, HDR mastering, and deliverables. Work closely with the Operations and Facility teams to make sure all schedules and work orders are accurate. Track and communicate DI progress and bid/actual reports to client and production company personnel. Effective and direct communication with clients and filmmakers Manage multiple projects simultaneously while facilitating seamless hand-offs to fellow colleagues. Build and maintain relationships with producers, directors, cinematographers, editors, and other client contacts to help source and close new projects. Skills/Experience Required: Very strong understanding of latest digital cinema and production practices and techniques. Ability to work in a fast paced, deadline-driven environment and anticipate client needs. Strong writing, presentation, and communication skills. Self-motivated, ambitious, excellent management and multi-tasking skills. Multiple successful project deliveries This position requires occasional lifting and moving of light to medium-weighted objects (10-50 pounds).We offer competitive pay and a benefits program including: medical, dental & vision coverage, vacation & sick leave, 401(k), and more.Please send resumes (PDF format only) to diproducer.la@lightiron.com. No calls or drop-offs.Light Iron, a Panavision company, is an Equal Opportunity Employer.http://lightiron.com/about/careers/

What would you call the cold blue/green look seen on many TV dramas? Like in Bates Motel (that a can't recommend enough!) when scary things is going on? Love this trailer!

I'm familiar with Cinegrain, but I will have a look at FilmConvert too. And thanks for pointing at the advanced controls, I must have missed it!

Is it any difference between adding the external grain as an external matte or adding it to a top layer in edit mode with the overlay mode?

Do you know if it is possible to apply grain to spesific luma ranges to mimic how it behaved on film?

Time for this look to be discussed I think... Seem to remember a great amount of blockbusters were influenced by Stefan Sonnenfields Transformer look, but haven't seen much of this lately. What do you think of the teal and orange look, does it appeal to you?

Description: Required Colorist with good knowledge of Blackmagic RESOLVE Requirements: Good operating Knowledge of Resolve Color sensibilities in the right place Knowledge of grading full length feature films/tv/video (the more the merrier) Knowledge of Autodesk smoke a plus Knowledge of After fx/photoshop a plus English speaking and communication skills are important Apply here or amitjalan@imagedevices.com

The end of Mac? "Apple mentions the Mac less and less at its big events. The company knows that the machine is a drain on resources that detracts from its new core business, iOS and its mobile devices. I know that Mac users do not want to see this reality, but the Mac is not a money maker. When you go into the Apple Store, you see the phone and the watches front and center, then the iPads, then the Mac. There was some talk a few years ago about iOS on the Mac. That chatter largely subsided with the arrival of the iPad Pro, which changes the focus and solves the problem of having to develop two separate and distinct OS code bases. Even Microsoft was not about to invest in parallel code development to this extreme. Google is almost doing something like this, but basing it on Linux kernels. Apple does have some Unix in the guts of macOS, but iOS seems scratch-built. On top of that, the company is doing extensive custom chip engineering with its ARM licensing and the A9 chip. This is a lot of heavy lifting at the most complex levels of design. Do not get me wrong. The Mac is not dead tomorrow. But I've seen this exact scenario before and it does not bode well. If Apple rolls out some odd and out-of-place extravaganza for the Mac, you can be sure the end is near." - PC MAG

One of the most frequent questions I get in pre production meetings is what camera I prefer them to shoot with and the choice is often between a Red and Alexa package. What do you prefer?

On one of the clips on my timeline, the keyframe editor actually plays backwards. When I click the thumbnail, the keyframe position starts at the last frame and when I scroll the clip the keyframe position moved towards the first frame. Have you seen this before?

I'm dealing with some back focus lense issues and hope to find a way to sharpen some elements. Is the regular and built in sharpen tool the best option?

Full Time Job The Farm LA is looking for an Assistant Editor with a love for Color + Online to join its team! WHO WE ARE: The Farm LA is the US branch of The Farm Group, which is a large international post production facility. Based in the heart of Hollywood, The Farm LA offers a one-stop post production solution in a relaxing, spacious, and modern working environment. Our offline, color, online, and audio facilities boast cutting-edge technology with creative and technical teams working collaboratively on a wide range of TV formats and feature films. The Farm LA opened in Hollywood in late 2011, offering both video & audio post production facilities under one roof. The facility boasts an amazingly spacious environment, along with exceptional creative talent & support staff for both picture & sound post. Our one stop facility caters for all your requirements; Offline, Online, Color, Re-Recording Mixing, Sound Editing, Deliverables & Duplication. Recent projects span a variety of genres: documentary, feature film, reality, scripted, comedy, entertainment, sport, music videos, concerts & events. THE POSITION: We are looking for someone who is quick, and technically savvy. Must be detail oriented, have a keen interest in color grading, online editing, extremely detail oriented, quick to learn. Must also have the ability to work on your own or with a producer. Typically, an assistant is required to multi-task, and depending on the phase of the project you may be doing anything from transcoding, loading/breaking down footage, EDL prep, file compressions/postings, to animating supers/titles, and more. The Farm LA is a tight-knit team which provides an excellent level service in a very encouraging and forward thinking environment. We like team players who are fun, enthusiastic and have a passion to create the best possible products. JOB REQUIREMENTS: *Proficient in Avid Media Composer (all of our editors cut in Avid, this is necessary) *Full understanding of tapeless workflows including RED, Alexa, 5D, Phantom, P2, XDCam, and more *Must be familiar with digitizing, transcoding, logging, syncing and grouping *Skillful in After Effects & Photoshop *Excellent Mac and PC troubleshooting skills *Must have experience with EDL's, OMF/AAF's, various quicktime codecs, etc *Working knowledge of frame rates, formats, and codecs *Ability to work in a fast paced environment calmly in front of clients/creatives *Extremely organized and focused on attention to detail for things like file naming and media management *Must be a team player. *Positive attitude a must! https://www.entertainmentcareers.net/jobseeker/jobdetails.asp?id=245321

How do I best replicate the Dodge and Burn known from Photoshop?

@Andy Minuth, @Andreas Brückl, @Daniele Siragusano could might help you out here.

What is the best graphic card available today? Looking to replace a Geforce 690 dual and a M2000 for improved speed.

Giant congrats to the %#!# genious @Tom Poole on receiving the Hollywood Professional Association - HPA Award for Outstanding Color Grading, Commercial, for his beautiful work on Jose Cuervo "Last Days"! https://www.youtube.com/watch?v=YlcSA5KI4Lw

Mike Seymour: Unfortunately we have been told by reliable sources that Rushes staff have been informing their clients that the iconic effects and post house is closing shop. We have contacted Rushes for official comment, while they initially said they would comment, they later declined to add anything further, but they did not deny the story. Founded in the middle of the creative explosion that saw The Sex Pistols channel teenage angst and Vivienne Westwood's work come to the fore, Rushes opened its doors for the first time in 1977 taking its place amongst the creative dynamic cultural changes happening in the late 70's that still shape our lives today. Creativity, pushing boundaries and developing imaginative concepts is still Rushes USP, known for not only outstanding work but exceptional client services and brilliantly talented people. For 40 years clients, creative staff and working professionals around the world have kept an eye on the English company for inspiration and trailblazing innovation. One cannot over stress how influential Rushes has been in the world of visual advertising and break through communications. Broadcast Now is reporting, that Rushes 60 staff are currently in consultation with management. Deluxe is “looking at all opportunities within the company where employees can be redeployed.”Rushes’ turnover for 2016 was £4.7m with a pre-tax profit of £23,000. In 2015 it made a loss of £1.7m.In a statement, Amanda Cupples, the president of International for Deluxe Entertainment Services Group, said, “As the global ad market continues to evolve, the economics of maintaining a local commercials post facility in London is not proving a viable option. Our wider Creative Services division offering a full suite of post-production services by leading brands Encore, Company 3 and Editpool is still very much a core part of our business and going strong.”