Colorist Podcast Episode 005: Terence Curren

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.

Colorist Podcast Episode 005

In this episode, I talk with Terence Curren, a Colorist and Online Editor in Los Angeles. He’s known for unscripted television shows like Project Runway, True Life, Ghost Hunters, and many others.

He got his start at the well-known post facility, Matchframe Video, as employee number one. At Matchframe, he was one of the first editors in LA to work with Avid Media Composer, Symphony, and DS. And to this day, he still colors and finishes his shows on a Symphony.

In 2002, after 16 years at Matchframe, he moved on to starting his own company, Alphadogs.

Many LA post production professionals are familiar with Alphadogs from their monthly meet-ups called The Editor’s Lounge. It’s been a hub for people to learn about new technologies, directly ask vendors questions, and socialize with other pros. It’s been a great resource for over 13 years and I’ve personally learned a ton from attending them.

In this interview, we talk about:

• How starting in editing effects his approach to color
• Running his own business from a colorist’s perspective
• The commoditization of postproduction gear and how it changed the business
• How and why the monthly Editor’s lounge started
• Using an Avid in color workflows and why they can save time
• A history lesson on the Avid DS and why it was killed
• His thoughts on groups for colorists and how they can bring change
• Baselight as a plugin within Avid
• Using the keyboard and Wacom tablet instead of a panel

Alphadogs

Editor’s Lounge

Terence’s IMDB

Follow Terence On Twitter

Enjoy the podcast!

– Josh

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• October 17, 2016 at 11:44 am #33219
  
  Josh Petok

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  This is the discussion thread for the Insight: Colorist Podcast Episode 005: Terence Curren

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  edulista

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  January 13, 2017 at 2:34 pm

  One thing that he missed is that going to a full baselight, differently from resolve, will allow you to come back to Avid BLE. So, using lenses, one could actually work on the color while the cut is still being edited. Another really cool approach of filmlight is its integration with Nuke. FX artists start to comp from the colorist’s work, and they can still continue to finesse that color grade while the fx artist is being updated.
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