Colorist Podcast Episode 23

Colorist Podcast EP 020: Ian Vertovec

January 16, 2018

In the first installment of the Colorist Podcast for 2018, Josh sits down with well-known colorist Ian Vertovec from Light Iron. They discuss Ian's work, ACES, HDR, VFX workflow and much more!


Series

Editor’s Note:

The Colorist Podcast is an interview series produced & recorded by Mixing Light contributor Josh Petok. MixingLight.com is a paid sponsor of the Colorist Podcast & we only republish (aggregate) the content here for our members to enjoy.


Day 16: 24 Insights in 24 Days 2018 New Year Marathon

An Interview with colorist Ian Vertovec

On this episode of the Colorist Podcast, I talk with Ian Vertovec, Co-Founder, and Senior Colorist at Light Iron.

Ian has colored major films “The Social Network,” “The Girl with the Dragon Tattoo,” and “Ender’s Game.” And more recently, he has colored the TV shows “Baskets” for FX and “Glow” on Netflix.

Originally from Chicago, Ian focused on photography, then moved on to digital compositing. He later co-founded two post facilities in Los Angeles: Plaster City, then Light Iron. Out of necessity, he moved on to color at his company. He found his combination of photography and compositing matched perfectly for a career as a colorist.

In this podcast, we talk about:

  • Coloring David Fincher films and working with extremely dark images
  • The challenges of working on VFX heavy projects
  • Making HDR look both cinematic and realistic
  • Advantages of working with high-end systems like Quantel Pablo
  • The difference between working on TV and films
  • How experience with compositing served him as a colorist
  • Bringing life to images using texture
  • Using film emulation LUTs in his workflow
  • Comparing different cameras as a colorist
  • Using ACES in a color managed workflow
  • Keeping grades simple, clean, and efficient

Ian Vertovec – IMDb

Light Iron’s Site

Enjoy the podcast!

-Josh


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Comments

1 thought on “Colorist Podcast EP 020: Ian Vertovec”

  1. Regarding the inverse application of the DRT in ACES. In Baselight, you can disable to change it on a shot by shot basis for display referred colour spaces. It’s not really a problem for shows with a single colour space delivery, like rec709. Where it falls short, it’s when rendering DSM in ACES or other scene referred colour space, you’ll end up with bits of your show in display referred if you don’t reverse the DRT on those shots.

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