Next week, IBC will open its doors in Amsterdam to attendees from around the world. The exhibition covers more than a dozen halls with over 1,700 exhibitors spanning the creation, management and delivery of electronic media and entertainment.
Dolby is hosting a CSI colorist meeting beginning at 5pm each day of the exhibition. Kevin Shaw, CSI will be your guide, so be sure to stop by.
The Academy Aces team will be meeting with Colorist Society
International at IBC to discuss ACES 2.0. Discussion will focus on what works, what does not, and what changes
would improve ACES.
All colorists are welcome to the meeting at IBC on Sunday 9/17. Time and location of the meeting are to be determined. Contact Kevin if
you would like to attend, or if you have suggestions to add to the
conversation.
There is something for everyone at IBC, whether creative, technical, old or new - this is your chance to explore all that IBC has to offer across six days of groundbreaking insight and innovation.
The exhibition runs September 15 - 19 at the RAI in Amsterdam.
Tickets for the Colorist Mixer at IBC in Amsterdam are now on sale.
The Colorist Mixer is an industry Meet & Greet. Colorists, DITs, Color Timers, Finishers, Editors, DPs, and Directors are all invited for an evening of great conversation, food and drink. It's a relaxed way to enjoy your time at IBC. And it's also a great networking opportunity.
Colorist Society International is proud to be one of the many sponsors of this year's Colorist Mixer in Amsterdam. CSI co-founder Kevin Shaw will be in attendance, so be sure to say hello.
Remember, you must have a ticket to get in and these tickets sell out fast. Tickets sales, with details of time, date, venue, PLUS - all the great prizes you can win in the world famous Colorist Mixer Raffle can be found here:
Steve Scott, VP of Theatrical Imaging, Technicolor is featured in a short video produced by Wired magazine. The five-minute video traces the evolution of color.
Steve says that in the past, "you only had the option with film to make it brighter or darker or red or green or blue." Steve goes on to explain why HDR technology allows colorists to show more detail than ever.
“It's the biggest leap in display and projection in monitors that I've seen since I've been in this business."
In last month’s newsletter, there was a great podcast
interview with Juan Ignacio Cabrera, CSI. He talked about a wide range of
things, but one section that struck me was about his relationship with the
people around him while he is grading a movie.
Until very recently, if you wanted to see what was going on,
you had to be in the same room as the colorist, looking at the same (extremely
expensive) calibrated monitor. Now, you can deliver files and projects or even
stream sessions to remote screens, which are calibrated to match.
Collaborative workflows, of course, depend upon
communication. But an email list of comments is not the same as sitting
together, talking the issues through.
“I had never considered myself a colorist. I had putzed
around with color, but mainly, you know, RGB sliders. Nothing serious. I always
thought color was for the special people that had mystical abilities. Cause
back then, I mean you know what color suites were like. They were millions of
dollars. They were elite facilities that only well-heeled people could afford.
So here I am being told, well we’re going to add these color correction tools
and you’ll have to add a chapter. And I’m like, well shit. I guess I gotta
learn about this.”
Alexis Van Hurkman, CSI, talks with host Josh Petok, CSI about
the many twists and turns of his career and how writing increased his color
knowledge and skills.
Marc Wielage, CSI,
emailed us to say that he asked for and received on-screen credit for a small
indie movie called, 'The Sand Dune.'
Says Marc, "the cast is beautiful and the photography
makes them all look great. The filmmakers were really nice to deal with, and
the editor was a total pro - she's worked for Christopher Nolan on a couple of
big movies."
Marc explained "the film was shot on Red Epic with
Cooke lenses to kind of take the digital "edge" off. I think this was
my last project on Resolve 12.5 - now on 14 for everything."
Congratulations Marc!
CSI Forums
Don’t forget there are two CSI forums.
If you are an associate or alliance member, the forum is a great place to ask questions or discuss things out of public view. There are some good forums out there, but sometimes it is better to discuss things among ourselves. Most recently, Roel Videler posted some helpful resources to the Associate forum. The main thread on the full member forum is a discussion on our goals and how to get there.
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Both Member areas have exclusive CSI discounts, software suggestions, and download pages. If you have something to share, or something you are looking for use the forums or send it to admin@coloristsociety.com.
As always, we appreciate our sponsors (and hope to add more to the list).
Click on their logo to check out their offerings.
If you have news, photos, projects your working on, etc. that you would like to share with your CSI fellow members in future newsletters – send us an email at admin@coloristsociety.com with all the details.
Tickets for the Colorist Mixer at IBC in Amsterdam are now on sale.
Steve Scott, VP of Theatrical Imaging, Technicolor is featured in a short video produced by Wired magazine. The five-minute video traces the evolution of color.
In last month’s newsletter, there was a great podcast
interview with Juan Ignacio Cabrera, CSI. He talked about a wide range of
things, but one section that struck me was about his relationship with the
people around him while he is grading a movie.
“I had never considered myself a colorist. I had putzed
around with color, but mainly, you know, RGB sliders. Nothing serious. I always
thought color was for the special people that had mystical abilities. Cause
back then, I mean you know what color suites were like. They were millions of
dollars. They were elite facilities that only well-heeled people could afford.
So here I am being told, well we’re going to add these color correction tools
and you’ll have to add a chapter. And I’m like, well shit. I guess I gotta
learn about this.”
Marc Wielage, CSI,
emailed us to say that he asked for and received on-screen credit for a small
indie movie called, 'The Sand Dune.' 
