Tom Poole

Top work man. Some beaut grades in there.

Well ok. I didn’t read the article, but that makes sense.

I’m guessing he means “constrain” - A film/print emulation LUT that constrains (suppresses) highlights etc.

Definitely film constrain LUT.

My last two assistants (last 5 years) are now colorists at Company 3 and doing great. They both started in the machine room and moved up. I would rather have someone with a great personality and street smarts,than somebody who is techy. Unfortunately, the apprentice approach to Assists is dying out - but not on my watch.

80-100 hours depending on budget, length etc. I've done DI's in way less time than that though

Thanks for that lesson

There is no secret sauce (technique). Stef uses the same LUTs most of the other guys use. He tends to keep things super simple (few nodes) and doesn't do chroma adjustments in the mids. Stef just has a great eye and works with great DP's. Simple as that. I had an editor stand behind me on a commercial job recently. He said "Don't mind me, I'm just stealing your technique". I laughed and said "No worries, because you can't steal my taste"

Those stills from Drive are not screen grabs. They look like promo stills from the onset photog.

Yo Alan, Got your email but was slammed last week. Send me another email with your cell and I'll set up a time for you to come by Company 3 T

Did anyone help you with this? if not, email me: tom.poole@company3.com

I forwarded your CV to several people. Will follow up soon T

Thanks guys. Went nuts on this one

Kill the wipes to raw man. Who cares what the raw looks like? You've got some solid looks in there, but the wipe disco nearly gave me a seizure.

Send me your CV. I'll forward it to some people: tom.poole@company3.com Save your money for the crappy pay you'll receive, working an entry level job at a post house. Get in. Find a colorist you like. Be cool and helpful (don't brown nose and talk too much though). Work your ass off at all aspects of the job. They'll see you care and want to mentor you.

System schystem - I've used Resolve and Baselight. Both have advantages and I will agree that the Baselight panel is a beaut. But at the end of the day it doesn't mean anything if you ain't got the eye, taste or ability to make the client happy. To be honest, I probably use about 10% of the Resolves tools. I find that people who wax lyrical about the tech side of the color boxes, usually aren't very good. My advice to my assists and people coming up is always the same "Immerse yourself in all things visual - photography, film, art, whatever it is". These are the things that will make you a good colorist, and also allow you to hold conversations with other creatives.