News, reviews, thoughts, career advice, and
humor for professional Video / Film
Colorists & Finishers. Delivered Sundays.
Curated by a professional color grader and
the CEO of MixingLight.com.
As the Thanksgiving weekend comes to a close and the
ritual fasting begins to shed the 5 pounds we all gained
over the past few days, there’s not much in this
Newsletter. Other than Black Friday sales – many of
which end in the next 48 hours.
And… Omniscope
now features a new waveform visualization in its latest
Beta release, which is novel.
Enjoy this week’s
Newsletter!
I’ll see you next Sunday and…
Happy Grading!
Sincerely,
Pat
Inhofer Chief Photon Wrangler,
Publisher MixingLight.com
PS
– If you find an item you think should be in this
newsletter, email me a
quick note.
Featuring the work of creative craftsmen, the
theory of color, and industry news. Learn practical
workflows, useful theories, and actionable insights
from existing (and emerging) leaders and teachers in
our industry.
“In his review for the New Yorker,
Justin Chang asked: “Why is everything
in this movie, for all its lavishly
gilded, emerald-studded set design,
either too dim or too bright – so
blindingly backlit that Oz seems to be
under perpetual thermonuclear attack, or
so murky that you could scarcely tell a
monkey from a Munchkin?””
This item was sent in by Marc Wielage,
who writes, “I’ve seen Wicked 2 in a big
full-featured IMAX theater, and it
looked perfectly fine to me … it seems
like the movie was fine, the
cinematography was terrific, and the
final lighting done by Alice Books was
fabulous. I think the critics are
crazy… Not dark at all, at the
screening we saw, which was packed with
a very loud, appreciative
crowd…
Great color as always from lead
colorist Jill Bogdanovich of CO3. As far
as I see, the filmmakers got exactly
what they wanted in the look.”
Now I’m going to have to check it out
this week to see with whom I agree
🙂
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