Incredible Mag

The Colorist: The Relationship Between The Director and Cinematographer

<p style&equals;"text-align&colon; justify&semi;">During the last years&comma; one of the professions that have developed the most in the film industry is a Colorist&comma; generally known as Color Graders&period;<&sol;p>&NewLine;<p style&equals;"text-align&colon; justify&semi;">With that evolution&comma; one of the relations that has been effected is the relationship that the director and the cinematographer have received with the color correction&period; First of all&comma; a big amount of possibilities were opened to further achieve their vision&comma; and with the evolution of more accessible software&comma; everybody suddenly has a more accurate idea about what color correction is and how this process can bring the project to a whole new level&period; For that&comma; Francisco Lorite&comma; a colorist with more than ten years of experience in the field will help us to understand the process&period;<&sol;p>&NewLine;<p style&equals;"text-align&colon; justify&semi;"><img class&equals;"aligncenter wp-image-1875 size-full" src&equals;"https&colon;&sol;&sol;incrediblemag&period;com&sol;wp-content&sol;uploads&sol;2017&sol;08&sol;IMG&lowbar;5917&period;jpg" alt&equals;"The Colorist&colon; The Relationship Between The Director and Cinematographer" width&equals;"600" height&equals;"450" &sol;><&sol;p>&NewLine;<p style&equals;"text-align&colon; justify&semi;">&OpenCurlyDoubleQuote;Before&comma; the look of the film&comma; &lpar;because of the work in the photochemical process&rpar;&comma; was always done directly on set&period; The Cinematographer and the Director determine everything&colon; how they want to tell the story&comma; or more technical decisions&semi; for example&comma; what kind of contrast they were aiming for&comma; and what colors they want to use &&num;8211&semi;and once they arrive to the color suite&comma; everything had that harmony&comma; the same direction&period; Nowadays&comma; that decision is made in the color room&comma; being some time an experimental process to discover the film&comma; a place where decisions are made&period;<&sol;p>&NewLine;<p style&equals;"text-align&colon; justify&semi;">It’s about how you are going to paint the story that you are helping to tell&comma; what kind of color palate you are going to use&comma; how bright or dark the movie needs to be&period; The impact of all these decisions for the movie are extremely important changing the perception and experience that the audience will have&period; You have the responsibility to bring together the Cinematographer’s and Director’s ideas&comma; along with the possibilities that the footage has&period; Even the Producers need to be listened to&comma; because they are the ones that will determinate how many hours we can work on the movie&period; So&comma; on special occasions when the footage needs more work&comma; you have to be able to explain to them&comma; why the movie will need more time to be worked on&comma; in a way that they can comprehend&period;<&sol;p>&NewLine;<p style&equals;"text-align&colon; justify&semi;">On the other hand&comma; now the cinematographers are more confident when it’s their time to propose looks&comma; or stretch the image to its maximum capabilities&period; This is because they have the opportunity to play around with a free digital program to get a taste of the formats and possibilities &&num;8211&semi;having the opportunity to test these ideas and bring a more accurate reference to what they are looking for is extremely beneficial&period; Meanwhile&comma; usually&comma; Directors always speak about emotions and what they are trying to transmit with the characters&colon; the story and how important it is for them for a specific light&comma; shadow&comma; or color&comma; mostly with metaphoric examples&period;<&sol;p>&NewLine;<p style&equals;"text-align&colon; justify&semi;">For all of this&comma; once the relationship between the Director&comma; Cinematographer&comma; and Colorist is established&comma; it is difficult to break &&num;8211&semi;because they learned a common vocabulary that will help that project and the efforts it took to make&period;<&sol;p>&NewLine;<p style&equals;"text-align&colon; justify&semi;">But there is something that doesn’t ever change&colon; the confidence&comma; and commitment that the crew have in the colorist to bring the movie to its best&excl;<&sol;p>&NewLine;<p style&equals;"text-align&colon; justify&semi;"><em><strong>Author&colon;<&sol;strong><&sol;em> Tara Lendon &vert; Entertainment editor&comma; and film reviewer for Movie Begins&period;<&sol;p>&NewLine;

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