Color Talk With Tom Parish podcast

5:19

Kevin talks the issue every entrepreneur has of finding the value of their product idea and the challenge of demonstrating value to a client to create product tracking. How can you do this quickly?

Color Talk with Tom Parish

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Life without Color - Documentary by Robb Jacobson 17:40

10 years ago17:40

17:40

Up next is a conversation with Robb Jacobson about the lives of people who are affected, both by birth and by injury, both drastically and unknowingly with some form of color blindness. Robb is a story producer and a filmmaker who is partially color blind. One day it hit him - In our society, we cherish our visual field, but we also demand it to be understood uniformly. Policemen, firemen, pilots, army men, coast guard, railroad workers, electricians, astronauts, artists, and many more occupations won't allow for any inconsistency in color determination. Visit TomParish.com for more details.…

Color Talk with Tom Parish

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What can a Colorist learn from a Producer - a Conversation with Ezra Venetos 34:32

10 years ago34:32

34:32

Ezra Venetos is a film producer in Austin Texas many of us know locally for his successful indie films. I ask Ezra to talk about what makes him unique in his approach to producing films. We discuss the central theme I've been exploring in this mini-series "have we unconsciously evolved ourselves into a bad habit of thinking production quality is related to how much 4k or 5k gear you budget to rent or own? And more importantly what needs to change.…

Color Talk with Tom Parish

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Part 2 What can a Colorist Learn from a Distributor - Linda Nelson IndieRights.com 59:14

10 years ago59:14

59:14

Think about it - what could you learn from a distributor, really? For me it was a stretch. if you're like me and you assume distributors are gatekeepers then it's difficult to get over the mind talk running in your head that a distributor is out to get you in some way. Or at best just someone you have to pay along the way. Clearly this isn't the case but then there are those horror stories we've all heard over the years. Has this changed with the growing video on demand (VOD) marketplace evolving so quickly? You might be surprised what you learn from Linda Nelson of IndieRights.com during this 60 minutes of non-stop high-intensity flow of ideas to help you be more successful with your film. Learn more about this interview and color grading at www.TomParish.com…

Color Talk with Tom Parish

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Part 1 What can a Colorist Learn from a Film Distributor? Andie Grace Devolver Digital Films 34:01

10 years ago34:01

34:01

Up next is a conversation with Andie Grace VP of Acquisitions and Head CheerLeder at Devolver Digital Films - a film distributor in San Francisco. Why a film distributor? Turns out they have similar problems that as a colorist in helping a filmmaker be more successful.

Color Talk with Tom Parish

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What can a Colorist Learn from a Director of Photography? Interview with Ellie Anne Fenton 18:57

10 years ago18:57

18:57

In the next conversation of this mini-series on "What Can a Colorist Learn from a ...?" I speak with Ellie Ann Fenton, a Director of Photography in Los Angeles. Lucky for me she was in Austin working on a film. She called asking if she could bring the scriptwriter, the editor, and others on the team over to the studio to see some test clips on the large screen. Needless to say, I was delighted. We all met and talked about the feeling of the movie and how light and color will be used. This led to a technical conversation over what color space to shoot in with the Sony F55 and what LUTs to use. Then we did some testing with DaVinci Resolve. As the colorist for the project, I was thankful to have an opportunity to contribute early in the process as this will lead, I believe, to a more creative look because there will be fewer color correction issues. During this interview Ellie and I discuss how the cost of digital filmmaking has dropped dramatically (even 4k productions are doable), so what is the secret to doing this well with tighter budgets? What makes one indie production stand out over others when all are using the same gear and software in post? Surely it’s not just about more gear, or higher-resolution cameras, or finding cheaper actors or better scripts. Why not leverage the creative flow across the entire digital workflow production and post process, including inputs from distribution? How about expanding the creative uses of color and light in the process of telling stories? Bottom line – you want to spend less money fixing problems in digital filmmaking and get more emotional impact out of a budget all the way through the distribution step. Great gear without creative collaboration yields average, at best, results. Average is over. So listen in and let me know about your experiences around the collaboration process.…

Color Talk with Tom Parish

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What can a colorist learn from a Costume Designer? Interview with Kari Perkins 25:29

10 years ago25:29

25:29

Have you seen any of these movies - Boyhood which is winning awards left and right.. Dazed and Confused, Fast Food Nation, A Scanner Darkly, Bernie? In this interview I ask an award winning custom designer Kari Perkins who is from Austin Texas to explore with me what a colorist can learn from a costume designer and how that collaboration can impact the creative strength of a production. Kari and I discuss the renewed importance of early collaborating in the filmmaking process on the use of color versus attempting to fixing color in post production (if at all in small budget films). It’s a team sport and it starts early if you want to really stretch your budget and maximize your creative efforts.…

Color Talk with Tom Parish

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Teaching Advanced Color Grading - a conversation with Kevin Shaw 23:35

10 years ago23:35

23:35

In this episode of Color Talk we dig in deep with Kevin Shaw, Instructor from the International Colorist Academy, about his new class - Advanced Color Grading. We do not talk about the specifics of how you use Resolve or SpeedGrade or the Nucoda color grading system or Baselight. Instead we delve into Kevin’s particular approach to teaching color grading, which is less about the tools and more about the philosophy of how you think light and color.…

Color Talk with Tom Parish

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Warren Eagles on the Evolution of Teaching Color Grading at ICA 29:03

11 years ago29:03

29:03

Join in on our my conversation with Warren as we talk about the International Colorist Academey which he cofounded with Kevin Shaw and the evolution of teaching colorist over the last few years. We talk about how the attendees and the course work has changed over these last few years for this wanting to become colorists. This was a fun and relaxing opportunity to speak with Warren about his experiences while he relaxing at home outside on his back pourch. I just wish I could have been there enjoying a beer with him. Well maybe next time.…

Color Talk with Tom Parish

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AJA LUT Box - Interview with Eric Norrell 17:07

11 years ago17:07

17:07

Join 1047111me in a conversation with Eric Norrell, Product Manager for AJA, to talk about AJA's LUT-box. This new addition to the AJA family was released at NAB 2014, and later this year some significant updates were added. The AJA LUT-box provides an easy, inexpensive way to help with more precise color calibration of displays and look management in production and post workflows, and for handling camera matching on multi-camera shoots.…

Color Talk with Tom Parish

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Sharing Media with Clients. Frame.io Get’s it Right 21:11

11 years ago21:11

21:11

Tom Parish interviews Emery wells Co-founder of www.Frame.IO. Here is a question for the listeners - how’s it going - really - in sharing files with remote clients and teammates on your projects? Let me guess you use Dropbox to access to files or something Hightail or GoogleDrive. It’s a guessing game to see what the client is willing to use. Then you have Vimeo viewing files that need review or discussion, yes? Ok so where are the notes? How far back in my email what that last comment about changes which can spread out over days or weeks. Alright you get the point. This whole process of collaborating with new prospect or a client is rube Goldberg collection of disparate tool. Learn how Frame.IO is approaching this differently and promise to have a much better online solution. I'm all about that.…

Color Talk with Tom Parish

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Filmmaking Why That Color? Why Not - Interview With Aleksandar Maćašev 43:49

11 years ago43:49

43:49

Aleksandar is a New York-based visual artist. His work often crosses and re-crosses a thin line between art and design, and it ranges from deceptively simple to highly political. In 2010 his diverse body of work was collected and published in Aleksandar Maćašev / Book. “Color is not essential, but very influential … Color is ever changing, it is very relative and relational …”…

Color Talk with Tom Parish

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Interview with Randy Starnes on Color Grading Television Series Shows 46:43

11 years ago46:43

46:43

Imagine having the opportunity to sit down with a senior colorist who has graded dozens and dozens of shows over his career in the TV and movie business. That is what it was like as Randy Starnes and I conversed over FaceTime between our two locations, Austin TX and Santa Monica CA. Picking out one key point from this rich interview is difficult because Randy speaks with such ease and depth and care about his profession and the people he works with. He is a teacher, mentor, and seasoned professional colorist who remains fascinated with color. I'm grateful for this time with him. Clearly there are many important people in the creation of a TV series, but as a colorist your relationship with the DP is critical, and Randy makes this point with insight, finesse, and emphasis during our interview -- multiple times. Randy has deepened my commitment to push harder on all my projects to get to know the DP as soon as possible, any way possible. You will see why he feels so passionately about this as you listen to his stories and experiences in creating looks for TV shows I'm sure many of us have watched. For example, The Blacklist, Masters of Sex, The Goldbergs, Camp, The Client List, Gray's Anatomy, Private Practice, Desperate Housewives, and NYPD Blue, to name a few. We cover a lot or ground in this 45-minute interview.…

Color Talk with Tom Parish

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What Exactly is the Munsell Color System and Why Should I Care? 25:14

11 years ago25:14

25:14

I'm entering a new phase of exploring color in a deeper, more intentional manner. Working with color has always been a fascination, and I have come to realize that there is much more to learn beyond the technical nature of how to use DaVinci Resolve or any color-grading tool. In this podcast with Art Schmehling, Business Manager for X-Rite/Pantone, I’m going farther along the path of the language of color. This interview is what I hoped for – an open conversation about color use and color awareness with the Munsell Color system as a basis and starting point for talking about color. On my blog I provide a much more detailed write up about the podcast so be sure you visit there. what-exactly-is-the-munsell-color-system-and-why-should-i-care…

Color Talk with Tom Parish

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Why You Should be Using a Color Test Card - Interview with David Corley CEO DSCLabs 45:28

11 years ago45:28

45:28

In this podcast I speak with David Corley CEO DSC Labs located in Ontario Canada about the history and use of color test charts. For more background on the show visit http://www.tomparish.com

Color Talk with Tom Parish

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Why HP's DreamColor z27x could be your next monitor for HD and 4k media production 29:52

11 years ago29:52

29:52

Everyone is talking about 4k, right, but who can afford a 10-bit 4k monitor that will have reliable color accuracy? For most of us, our desires outstrip our pocketbooks. Well, maybe there is a way .... Even though we have MacPros now that easily manage 4k workflows, the real issue is the display, and anyone doing media work knows is how important it is to have a color-accurate monitor. So we make HD and 2k monitors work for us for now. An extremely reasonable solution has emerged from HP through a close collaboration with SpectraCal and really a great number of high-profile animation and media production companies all over the world. Listen in to this show with Greg Staten, DreamColor Architect from HP, and Derek Smith, CTO at SpectraCal. We talk about HP’s new DreamColor Z27x that is a 27”, 10-bit panel with 2560x1440 pixel resolution, BUT this baby supports 4k inputs and displays 4k images in a number of novel ways. So how exactly DOES this panel support color accurate 4k video? What about multiple color gamuts and linearity issues and PRICE? Bottom line – is this panel the right answer for color-critical work, and why was it important I do this show now? Short answer: I was excited when I heard about a display product architect from a well-known company – HP – who had collaborated closely with a display calibration company – SpectraCal – bringing the best of both worlds together for media producers. I've been looking forward to producing this show for weeks! This kind of cross-company collaboration is valuable. HP desires to cut the price in half from the previous DreamColor and make certain the display accuracy of the panel hardware is dead-on accurate AND make the display 4k-capable – well, their design has the promise of being a winner. Sure, in 2-3 years we'll see 4k panels come down in price and at least potentially linear in the way they handle RGB internally. But for now, there is an excellent solution from HP with very attractive pricing, special features for handling 4k, and an extremely simple way to maintain color accuracy using SpectraCal's CalMAN software that speaks directly with the DreamColor Z27x internal firmware. There is a lot to like about this product. Listen to our conversation and find out more! Tom…

Color Talk with Tom Parish

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A Video Review and Approval System that Has my Attention - RemarkHQ 15:28

11 years ago15:28

15:28

This is Tom Parish and I’m here with WayTao from RemarkHQ and we’re here to talk about a rather cool tool for media creators that allows you annotate video, review and approve video with teams and stakeholders. This product RemarkHQ,com got my attention late ly because I’ve been working in on a way to improve the approval process on ads and narrative films I’m working on with clients. There is alway a scene or clip or segment that seems require a lot of back and forth to get it right. Hurling Dropbox URL’s to large files back and forth with long emails where you manually type in the time code for each little issue is time consuming and often inaccurate. People get confused writing down time codes So the guys from RemarkHQ were in Austin and they gave me a call about doing a podcast. I’m looking forward to using this with my clients. There is an iPad version also so you’ll want to be sure you try that out along with their free trial. The price model they are using seems very reasonable to me so this could be a keeper. It’s simple and fast and does what I want it to do. Questions WayTao give us a quick overview of the product? How did you come up with this product idea? Who’s been using reviewing it and using ? When you visited major studios what did you learn and then employ into your product design? Tell us more about being host agnostic…

Color Talk with Tom Parish

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Insights from Jedi Master Michael Chen - Master Display Calibrator 48:50

11 years ago48:50

48:50

I was going to use the following title "Michael Chen asks What Color Glasses would you like to wear Red Green or Blue" because Michael tells a revealing story in this show in working with clients to evoke them into seeing and thinking differently. But before we get into Jedi Master Michael Chen's wisdom let me do a proper introduction. Michael Chen who is an early pioneer of the field of TV display calibration. In fact Michael helped create the original THX training courses for video calibration and remains one of the premier teachers in the world. You can find out more about Michael here. I’m personally delighted to have an opportunity to learn more about the art and science of display calibration given especially given he’s been doing it for the last 20 years. If you want to learn how to properly calibrate your TV you want to visit his website and learn from Michael’s generous collection of articles. He stays current and doesn’t hold any punches back when it comes to BS. I reviewed testimonials about his online display calibration course and I can see he’s one of the grandmaster teachers of display calibration based on all the feedback. What I found most insightful in this interview was Michael’s perspectives on how to grow your business as a display calibrator. Michael and I also talks a lot about do it yourself DIY display calibration so join in the conversation and learn. I hope you find this as useful as I have and you too will make a point of checking his site weekly to continue learning. If you think you have all this figured out already let me encourage you to test yourself with Michael's "Calibration Knowledge Challenge". It's a humbling experience.…

Color Talk with Tom Parish

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Calman - DaVinci Resolve Interface and New Display Technology Updates 30:45

11 years ago30:45

30:45

If you’re a colorist with an interest in color checking or calibrating all the displays in your studio — including your reference monitor, client displays, projectors, and periodically updating those 3D display correction LUTs — then you’re going to want to know that CalMAN 5.3 now provides a way to use DaVinci Resolve as a pattern generator. In fact, there is a dedicated version of CalMAN just for Resolve users. When you use a WiFi connection with Calman 5.3 interfacing to Resolve, the patterns that Resolve generates come up on all the displays you have video connections to in your studio. Here’s a quick picture I took in my studio. It's not a beauty shot but you get the idea. Well you'll need to see this picture at tomparish.com). I get a kind of smug satisfaction knowing I can put up the same pattern on all displays and then check or calibrate each one directly from SpectraCal's CalMAN software anytime I want.…

Color Talk with Tom Parish

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Austin: 4k Video Gear Show and Tell and Color Grading Demos in the AFS Room March 3 3:06

11 years ago3:06

3:06

If you have an interest in learning about 4k video production equipment and visiting with a colorist to improve the production quality of your projects then I invite you to come this free event in the Austin Film Society screening room at 3pm and 5pm on March 3. The OmegaBroadcast Group is sponsoring this event for the local community and it’s free. Honestly this event it’s going to be a lot of fun because you get to see quite a bit of new 4k gear well before SXSW and NAB 2014 without having to travel out of town. In the screening room colorist Tom Parish will have example footage from various cameras used for low budget video projects shot locally and used for full length narratives submitted to Sundance and SXSW this year. He'll be using Davinci Resolve 10 with a Tangent Wave. Tom will provide examples of how color is used in storytelling and explain why it is important to improving the production quality of any size project for 2014. He will be available for general question and answers at the end of the session. After the grade / Q&A people are invited to go into the adjacent conference room to get their hands on HD and 4K cameras and on the color grading software running on the new Mac Pro and on an iMac with a Magma thunderbolt expansion chassis. Reservations: visit www.tomparish.com for details to sign up! Vendors to include: Sony, BlackMagic (Davinci Resolve + Black Magic Cinema camera) and others to be posted here soon. Session date: March 3 Session times: 3pm and 6pm. Each color session will last appromixately and hour Venue location: Austin Film Society 1901 E 51st St, Austin, TX 78723 (512) 322-0145 Event questions: OmegaBroadcast Group 512-628-0822 or Tom Parish (colorist) 512-782-4814…

Color Talk with Tom Parish

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A Day in the Life of a Hollywood Display Calibrator and the Tools He Uses 1:05:03

11 years ago1:05:03

1:05:03

If you’re from the Los Angeles area you’ve likely heard of David and his company Avical.com located in Burbank because he is the go-to guy for high-end video post production professionals in that part of the country. If I’m working at production or post house , and I need my most important monitors made as absolutely perfect as they can be made, I call Dave at Avical. What a fascinating clientele he must have and oh the stories that could be told. Let’s see if we can eek a few of those out in our conversations about the state of the art of display calibration for the Hollywood media houses. On a personal note I learned a great deal from Dave during the conversation. I'm keenly interested in display calibration and the impact it has on color correction and color grading. The two key points I was most curious to learn was why does he use SpectraCal's Calman software for display calibration and how does he set gamma. And finally what are his views on the evolution of adoption of the BT.1886 standard in the post production industry. I got my answers! If you want to jump to that section start at 36 minutes and I highly recommend you listen in. There is a useful writeup on the topic here. David has a fascinating job. I wonder if he gets a chance to see movies before we do?…

Color Talk with Tom Parish

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When to Buy a Reference Monitor and Trends in Reference Display Technology for 2014 35:13

11 years ago35:13

35:13

If you fancy yourself a digital creative, video editor, special effects person, colorist, producer, or filmmaker (or maybe all of these together), then sooner or later you come to the question – When should I purchase a reference display monitor? Why should I even bother? Bram Desmet, CEO of Flanders Scientific Inc., answers these questions along with some enlightening conversation around his insights in the rapidly changing area of display technology and display calibration trends for 2014. If you have a professional emphasis to constantly improve your craft, then improving the quality of your post-production work is critical, and using a calibrated reference monitor is one of your keys to success. Even if most of what you do right now is create, edit, or color content for the web, there are compelling reasons to use a reference monitor. Sooner or later you will be touching content destined for cable, broadcast, and theatre audiences. Your confidence in the color accuracy of your work is closely tied to the reputation you’re building. I hope you find this conversation helpful. I learned a lot myself.…

Color Talk with Tom Parish

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Insights in Grading Log-encoded Files with Patrick Inhofer 19:11

11 years ago19:11

19:11

This podcast is a brief conversation with Patrick Inhofer about a collection of insights for color grading log-recorded files. I also ask Patrick to talk about the MixingLight.com website and how that’s been coming along in the last year. I mention a number of times the insights I’ve learned from Alister Chapman an extremely creative DP from the UK who is known for being a storm chaser. He also takes small groups of photographers to Norway to record the Aurora Borelalis all in 4k. You should hear the stories he tells about that experience. And what discussion of grading log files would be complete without referencing Alexis Van Hurkman's Color Correction Handbook.…

Color Talk with Tom Parish

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What’s all the Hubbub around the Fujifilm IS-MINI LUT Box? 22:40

11 years ago22:40

22:40

If you haven’t heard, lots of folks are talking about a new SDI-based LUT box that sorta breaks the mold with regards to how LUT boxes have worked in the past. Here’s why. The Fujifilm engineers designed a physically small SDI-based LUT box to hold a 3D LUT for display profiling and calibration, but this is not your ordinary single-purpose LUT box. Fujifilm wrote their own PC and Apple display calibration software that can be used to quickly calibrate and install LUTs for a variety of purposes. Think about using DaVinci Resolve to create a test look while on set and installing that LUT into the IS-mini for preview purposes. What about networking a number of LUT boxes together on a big multi-camera shoot to manage LUTs for onsite previewing, monitor matching, and look previewing at a live event? During the interview, we also talk about the Fujifilm IS-10o Processing System that does all this. The key point is the Fujifilm software makes quick work of installing a LUT into the box for preview purposes on set. You can also quickly install a super-accurate 3D camera log conversion (versus 1D) for your Sony F55 camera, which only provides a 1D LUT, for log conversion to Rec.709. What is unique here is that Fujifilm designed the IS-mini with a built-in pattern generator that runs with their included PC and Apple display calibration software, and this combo sells for $1300 retail. You’ll need to add a probe, of course, and they include the X-Rite i1Pro Spectrophotometer as an option (recommended if you don't have a probe). First impressions are that this LUT box and its accompanying software are a combo that is dead simple to use, extremely fast, and amazingly complete for profiling and calibration purposes. Took me just minutes to set it up and create a calibration LUT for a client display I have in the studio. Now I see why this particular LUT box, along with the Fujifilm IS Manager software, is going to be very popular in production environments where time is critical to set up calibrated review monitors and preview raw and log-based video streams.…

Color Talk with Tom Parish

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Display Technology and Display Calibration - What Changes in Mastering UHD, 4k and 8K Content 42:53

11 years ago42:53

42:53

I had two goals with this podcast: 1. Have a one-on-one conversation with Charles Poynton about the future of display technology as we evolve from mastering HD to UHD, 4k and even 8k media. 2. Understand where display calibration technology stands with mastering displays (LCD and OLED in particular) and what is state of the art with calibration software. A point I wanted to bring out was that mastering displays for high-end productions will always need calibration tools for mastering purposes, but how can a growing market of digital creatives leverage these tools to bring their iMacs and personal computers into close compliance with Rec.709 and and newer standards using ICC profiles? The amount of content this community is mastering is huge, so can they use the same calibration tools? From our conversation it was clear that Charles has a great deal to say about displays and display technologies because he's been an instigator of many display standards since the 1980s. Charles really pours on the insights in this interview, so I'm delighted to be passing this along to my community of listeners. I have included a transcript of the interview at www.tomparish.com…

Color Talk with Tom Parish

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A Deep Dive with Derek Smith on Calman RGB - An Evolutionary Change in Display Calibration 35:07

12 years ago35:07

35:07

In this interview Derek Smith provides a technical history of the evolution of display calibration software for attached monitors on PCs and MACs. Derek covers in detail the older style monitor calibration techniques that use ICC, Direct Display Control and 1D LUTs (inside a computer graphics hardware) and how all three of these technologies are managed at the same time in Calman RGB to produce faster more accurate results. At TomParish.com I’ve included a transcript of the entire conversation so you can go back and read Derek’s explanation of how Calman RGB works, why their approach is different and how it provides a significant improvement in accuracy and speed as well as vastly simplifying the user interface experience. Let’s face it we don’t want to use these tools we just want to use our displays knowing they are calibrated as close as possible to REC709 so we can get on with our creative uses of color, yes! Listen into to learn more.…

Color Talk with Tom Parish

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Exploring Color in Films with Roxy Radulescu of MoviesInColor.com 15:54

12 years ago15:54

15:54

Young and talented, Roxy Radulescu is representative of the new creative class emerging through the millennial generation. We talk about her motivation for investing her time and creativity into her constantly evolving website, MoviesInColor. As an interviewer I am curious to learn how she creates these color pallets. Listen in and find out. Duration 15:54. You’ll want to visit her site, or better just add her Tumblr account, to gain a fuller understanding of her creativity. Fascinating work. It’s been an inspiration for me as a colorist. I share her hope that her work will inspire new filmmakers to experiment with different color palettes in telling their stories. A noble cause and one worth having in this new age of using digital media to impact the production quality of storytelling in films.…

Color Talk with Tom Parish

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Learning about Auto Calibration of Displays for Video Production with Joel Barsotti 17:01

12 years ago17:01

17:01

On this interview with Joel Barsotti I decided to dig in with SpectraCal and ask some 'how to' questions regarding their AutoCal and AutoCube technology for display calibration. A curious question that comes up is can you trust software that calibrates a display for you? There is an assumption that only a highly trained calibrator can do display calibration and it can only be done manually and it always takes many hours to do for every display. Scary stuff for the smaller shops who want to be sure their laptops, attached displays and reference displays are at or near the REC 709 standard. So setting the stage here for those small post shops who are looking for a less complicated and less time consuming way to calibrate all of their displays I thought it would be worthwhile to learn more about AutoCal and AutoCube from the director of software development - Joel Barsotti.…

Color Talk with Tom Parish

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A Conversation with Cédric Lejeune on Color Consistency in Post Production Workflows 37:26

12 years ago37:26

37:26

Up next is a conversation with Cédric Lejeune on the topic of color consistency in post-production workflows. This is a big topic, and it would be easy to drill down into a dozen different niches. Instead, I gave Cédric an opportunity to talk about the issues and opportunities for small post-production companies to focus on color calibration, color correction, and color grading to increase the value of their work and be more competitive. Background Cédric’s company is Workflowers, and he specializes in digital cinema and video workflows, infrastructures, and colour science. In 2006 Cédric started Workflowers to develop consulting and training services, accompany film labs in the transition to digital, and help post-production step into the cinema world. He specializes in digital cinema and video workflows, infrastructures, and colour science. His work on online collaborative environment and content management tools has made him an expert of cloud technologies for media. He also develops CPGP plugins for color grading systems that are used by major studios such as Efilm, Technicolor, Cinepostproduction. Cédric Lejeune is a member of the CST, and has a lecture at Université de Valenciennes about technologies and network infrastructures for content creation. He’s an Autodesk Certified Instructor on Lustre, member of the DKU (Discreet Knowledge Unit), and a color science instructor at the International Colorist Academy. Many thanks for his time as he was preparing for a trip to Singapore to lead a session with Cine-tal on color workflows at Broadcast Asia, sponsored by Dolby. Wish I could attend. Questions 1. What was your original inspiration for focusing on color science and its relationship to higher production values in storytelling? 2. I know you have a seminar planned at the Broadcast Asia conference in Singapore on June 21. Why are these topics important to teach, and who should be interested? 3. What are the key issues today that need attention in post-production workflow? 4. Let’s talk about trends in the display, cinema, and post-production industry from your perspective, starting with: color calibration, greater variety of display technologies, and how to bring better color consistency across all displays versus only the reference monitor. 7. Are wider color gamuts coming for commercial displays like, say, with 4k? 8. What do you think the evolution of 4k is going to look like in the next 12 months? Who should be focusing on 4k now? 9. Will ACES (Academy Color Encoding System) get broader use? Why and when?…

Color Talk with Tom Parish

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Color Calibration for all Displays in your Studio with Derek Smith, SpectraCal 1:02:12

12 years ago1:02:12