Tom Evans

Commercial Color Assistant 
Deluxe / Santa Monica
Job No. 17-0623

Goal Overview
To prepare and deliver color projects as well as assist the artists.

COLOR ASSISTANT RESPONSIBILITIES

Preparations for Projects/Sessions
• Set up project folder structure on the color SAN.
• Ensure all prep is downloaded and up to date.
• Ensure all lists and references are properly formatted. Notify production coordinator of any issues.
• Ensure all required elements are present and if not notifying the CO3 producer immediately prior to 6pm and the client if after 6pm.
• Ensure all elements are properly labeled.
• Communicate with the production coordinators any issues that may arise with elements [hard dive power supply, hard drive failure..]
• Create Master List as well as Scan, Conversion, Trim, Ingest, and Sync EDLs.
• Transcode, trim, and import sources files based off client EDL(s).
• Conform imported, transcode, scanned, and or trimmed files to client provided EDL(s).
• Quality check the conform timelines to client supplied reference to insure that all material is accounted for.
• Ensure all client request are accounted for such as handles, mattes, and color references.
• Ensure all project settings are set to the defined department standard.
• Flag and contact night coordinator on any shots that do not line up to the reference.
• Flag and contact night coordinator on any shots that are not delivered in the correct color space.
• Color-trace project per work order requests.
• Add previous session stills per work order requests.
• Update production coordinators on any prep issues or spec changes.

Execution of Job
• Set up room 15 minutes prior to session start per session requirements.
• Check project for issues and playback performance prior to session start and client arrival.
• Converse with the artist and greet the clients when job begins.
• Keep in communications with production coordinator on any outstanding footage needed to complete the project.
• Communicate to artist all project details necessary for the artist to execute the project.
• Confirm the details of the laydown requirements, etc with clients.
• Send out stills and/or color ref QT to clients per artist request.
• Monitor the progress of a session, keeping the production coordinator up dated on its status.
• Communicate any machine downtime to the producer, production coordinator and engineering.
• Ensure artist added their color time to the work order.
• Prep and add any pick up shots for the session.
• Ensure hero stills are updated and grabbed for all timelines
• Update the production coordinator team with any spec and or delivery changes.

Final Delivery
• Communicate with the production coordinator on any additional request made by the clients in the bay.
• Render/Record graded project per specs given by the client and/or work order.
• Label graded elements clearly to indicate what material has been graded. Include alternate passes and resizes.
• Quality checking all graded and raw material for any missing material or corruption.
• Creating XML, AAF, and/or EDLs from graded session.
• Exporting graded and/or raw material to requested media storage format.
• Quality check all exports to ensure that all material is accounted for on the requested storage format and is free of any corruption.
• Update production coordinators on any cut-offs in jeopardy of being missed.
• Contact vault once elements are ready for shipping.
• Update producer and vault on any shipping updates.

Final Billing
• Ensure all work orders are legibly filled out with set-up, color, and render/laydown time.
Communications
• Touch base with production coordinator before leaving shift for handoff notes, etc.
• Update producers and coordinators all relevant information for all aspects of the project; Prep and Post.
• Generating Night Report with the status of the current days sessions and the following days sessions.
• E-mailing Stefan shot count to shot count alias at end of night.
Engineering
• Reporting all system repair needs via the EMR system. For urgent matters immediately contact the production coordinator(s).
• Keep production up-to-date on the status of any situation that directly affects the session and or is deliveries.

Requirements / Background
• Knowledge of digital capture cameras and files
• Background and/or knowledge of offline editing
• Avid and/or FCP experience
• File based workflow experience
• Knowledge of mobile storage devices and formats
• BlackMagic Resolve and/or other color correction software experience a plus
Miscellaneous

• REPORTS TO: Head of Production | Short Form

https://rn21.ultipro.com/DEL1005/JobBoard/JobDetails.aspx?__ID=*FA5751F49B15B896

Prelight & Prelight ON-SET 4.4m1 are now available to buy or try from the FilmLight web store:

www.filmlight.ltd.uk/prelight

Get the ultimate in interactive colour correction right from the start of your production.

Purchase now and you’ll get a free upgrade to 5.0 as soon as it becomes available.

Shed
Santa Monica, CA
Posted: July 5, 2017

Freelance Job

We currently have an opening for a Feature Dailies Operator. 

Responsibilities:

• Operating Dailies Systems for various Dailies projects.
• Having a basic knowledge of Color Correction.
• Tagging/ Logging scene metadata, pre-syncing audio.
• Knowledge of Avid editorial software. 
• Prepping of Avid media for delivery to Editorial. 
• An understanding of various codecs and their specified purposes. 
• Transcoding files.
• Perform quality control procedures.
• Archiving & Verifying of LTO elements.
• Prepare materials for shipping correctly and carefully, including labeling.
• Keeping accurate session notes and maintaining Google Docs.
• May be required to attend pre-production meetings with clients and staff.
• Willing to do some training.

Qualifications:

• Must have good communication skills both oral and written.
• Ability to have good working relationships with clients and staff.
• Must have strong problems solving skills and ability to manage workload and meet deadlines.
• Must be able to multi-task.
• Must be able to work rotating shifts, graveyard shifts, and weekends.
• Possible travel out of state/country.
• This position is eligible for overtime.

http://www.entertainmentcareers.net/Shed/Dailies-Operator/job/236249/

I did export an AAF from Avid but when importing it into DR14, it links to the DNxHD36 files in the Avid MediaFiles folder and not the Alexa files. How can I fix this?

The black flickering appears when I playback footage on my other projects where I have used LUTs in the node three as well. The flickering is so prominant that it's probably more black frames than video frames.

When applying a 3D LUT in the DR14 Beta it flashed black everytime I do any adjustment. This is extremely annoying, have you had any similar experience? Any fix for this?

How can I get best speed/performance by optimizing the software? Under Video I/O and GPU I have different options and what to choose on the PGU processing mode? Any other sofware related options that can optimize speed especially for Alexa footage?

And what is the difference between the different versions of the GTX, EVGA's? 

Nurali, you seem like a great guy - keep up the good work!

Most resellers I've been talking to pushes XEON because that's the pro line and what they trust. That said, it seems like you have done your homework so I will have to look further into this. Thank you Margus. Do you recommend the GTX-1080, EVGA?

XEON is pro technology, and i3/5/7 is toy technology made for gamers and grandmothers. Even the new iMac Pro that's scheduled in December comes with XEON.

Agree, would be great if we all could build up the tutorial section here when we have some extra time. I like to browse them from time to time. 

I have migrated to the PC Z-series a long time ago, but it's still a bit fun to follow the Apple News, and today they launched their new iMac Pro. Doesn't seem like a game-changer to me, but what do you thing? http://www.cio-today.com/article/index.php?story_id=01200000R3B0

Well done @Nikola Stefanovic! The exposure control is extremely good throughout the whole ad, each scene got a great color contrast and the general balance is overall good considering it jumps between various locations, ext. internal shots and time of day.

Just want to let you know about a software I found online called LUTcalc. Don't know if you can use it to anything useful https://cameramanben.github.io/LUTCalc/

Thank you Bruno, can't appreciate enough your contribution to this forum!

Congratulations to our great forum member @Andreas Brueckl for flat table!

This thread will answer your questions - 

Resolve just relased a new beta (3) with some improvements.

• Improved H.264 performance for DaVinci Resolve Studio on Windows
• Addressed an issue with high CPU usage on Windows
• Added ability to select active face when using the Face Refinement plugin
• Improvements made to the Timeline Compare tool
• Added ability to resize the Project Manager window
• Added GPU-acceleration support for ResolveFX Dead Pixel Fixer
• Data Burn-In is now a floating window which is also available on the Edit Page
• Added support for gridlines in Warper plugin
• Added support for Crop Softness in Paste Attributes
• Improved ResolveFX tracker when using multiple tracking points
• Addressed an issue where some frames would get decoded at a lower resolution
• Addressed an issue where Face Refinement would not work in ACES and RCM
• Addressed an issue with Lightbox and Gallery layout changes not being saved
• Addressed an issue with grades applied with field processing enabled
• Addressed a crash when performing individual clip renders while preserving source directory levels
• Addressed a crash when decoding certain QuickTime ProRes files with a crop applied
• Addressed an issue where the rendered files would sometimes have blank audio
• Addressed an issue where render quality settings were not getting stored in presets
• Addressed an issue where creating render jobs would incorrectly fail with an invalid character error message
• Addressed an issue with rendering speeds when generating clips with audio
• Addressed an issue with decoding some Panasonic GH5 H.264 8-bit files on DaVinci Resolve
• Addressed an issue with some Title parameters not updating the viewer until the mouse is released
• Addressed an issue with Markers being displayed incorrectly in the Fairlight page
• Addressed an issue with incorrect timecode on some Panasonic camera QuickTime files
• Addressed an issue with core consistency check when exporting a Resolve AAF to Media Composer
• General performance and stability improvements

Everyone familiar with Avid can confirm that the software feels and acts almost identical to the way it did last decade. The same applies to Houdini and other software solutions that require as much manual control as possible. Working with the Avid developers for many years I've finally understood that user choice and modern design not necessary goes hand in hand. 

COLORIST ASSISTANT
Picture Shop Post

Working closely with the Colorist, Editors, In-house Producers and surrounding staff to ensure client request are met. In-depth knowledge of the post-production process including Original Camera Master File deliveries from the client, digital video workflows, troubleshooting, and final file deliveries back to the Networks and or Studios.

Primary Responsibilities

Project setups for day of Color sessions
Perform Color session renders according to work order specifications
QC of the Color session renders and lay offs to tape
Communication with Editorial, VFX, In-house Producers or Engineering to resolve any potential issues
Suite or tape machine routing and tape machine setups as needed

Experience Requirements:

Two years experience as a Color Assistant
Color Correction Platform knowledge of one or more of the following:
Davinci Resolve, Baselight, Nucoda
Basic knowledge of Avid, Flame, Cinedeck and Terminal Commands is a plus
In-depth knowledge of Color grading workflows and techniques
Technical ability in troubleshooting Color session projects
Knowledge of various file formats, codecs, color space, and video legalities
Ability to maintain a positive attitude while working in a fast paced environment
Highly detailed, self starter, punctual and a strong work ethic is a must
Excellent communication skills amongst staff and clients
Flexible schedule at times with the availability to work overtime and some weekends


Educational Requirements:

Bachelor’s Degree preferred; advanced degree in Film is a plus; experience at a Post Production Company preferred.

https://www.linkedin.com/jobs/view/...l_jobs_jymbii_digest;loR+vAbATc+efRQrxes8EQ==

This is the list og spots that actually won for color grading.

COLOR GRADING - 90 SECONDS AND UNDER

Toronto Maple Leafs 
Wise Man 00:60 
Colorist: @Luke Morrison
The Mill

COLOR GRADING - MUSIC VIDEO

Leaf (Ft. Lil Yachty) 
Nada 03:51 
Colorist: Josh Bohoskey
The Mill

COLOR GRADING - OVER 90 SECONDS

Squarespace 
John's Journey 2:50 
Colorist: @Tom Poole
Company 3

I'm pretty sure this is @Tom Poole's work, great artistry. 

The Mill New York is looking for a Color Assistant to join the team. 

A Color Assistant acts as the right hand person to the Colorists and Color Producer and so they must develop a very close working relationship which is only possible if the Color Assistant has an innate understanding of the Senior Colorist’s technical and creative methods. Although an Assistant defaults to the Senior Colorist, the Assistant must also have the confidence and ability to deal with clients and their requests and to work on jobs without supervision. Assistants are not expected to have their own client base; they are expected to build one by developing and working in tandem with young and upcoming creative talent. Many of these are music videos, which allow a greater experimentation in creative and visual approach, allowing the assistant to apply the skills learnt whilst working with the Senior Colorist.

The Colorists and Assistant Colorists must develop a highly developed sense of color imagery coupled with a strong creative and aesthetic sensibility and an in-depth knowledge of the whole post-production process including current technical specifications of film, video and data formats. 

They support the Colorists in communicating ideas to the Director and advise on the effects that can be achieved either in-camera or through the Color process whilst ensuring the final grade remains within the required technical specifications – if the grade is too dark, at the next stage of the post process the Flame Operator will be unable to add special effects or remove/add people and backgrounds. Once they have mastered the techniques and have found their own client base they can go on to become a Colorist.

Requirements
• Communicating with the Producer to ensure the correct film, data and video and the EDL relating to this material (Edit List) is delivered for each job
• Loading in the EDL, scanning the required film or importing video/data, conforming all the required material as per the EDL. Ensuring that the Colorists can work with the specified media.
• Ensure the right Gates are on the Scanner for the type of job being undertaken (e.g. for 35mm or 16mm film) and following grading
• Transferring the graded images to video-tape or exporting them as data on a hard-drive or any format the client requires
• Have an in-depth technical knowledge of the Scanner as they are responsible for its maintenance, fault-finding and repair. 
• With reference to the Senior Colorist the assistant is also responsible for keeping the software up to date and ensuring they are proficient with this and any new hardware.
• Scanning negative to data using the Spirit 2K or Scannity
• Preparation of data for the Color Grading suite
• Export graded data from the Color Grading suites
• General assist duties for all Colorists and Producer
• Color correction on additional shots for completed projects
• Projects fully prepared in readiness for the Colorists session with clients
• Successful completion of tasks within the set timeframe and within 100% accuracy
• Projects assisted by the Color Assistant are delivered on budget and on time

Required skills, knowledge and experience:

The Color Assistant must have an understanding of the principles of film, video and data production
• At least three years as a junior in the post production industry
• They must be diligent and exhibit good attention to detail
• Previous experience of MCR operation is required and a knowledge of the principals of post production is expected. 
• Photographic interest and experience desirable. 
• A very solid understanding of operating systems and codecs is required.
• Flexibility and adaptability in working hours is expected

https://careers.themill.com/job/9e81b114-133e-44f6-b411-144f38e18e86