Photochemical Grading – Part Two

As a young colorist, I’ve only had the chance to work with film a few times, and its disappointing. I’m absolutely loving this series, and I’m not sure exactly what to ask for but more depth. Ways around limitations, classic scenarios encountered in color timing not common w digital color work, different LUTs or good methods to obtain a starting point (more insight into creating your own filmic curve, Dan style!), etc? Many thanks.

NIce insight Dan,

I’ve been using printer lights since Apple Colour after Kevin Shaw introduced me to them on the Film Master system. I’ve found that if the DP’s nailed it on set there’s usually not much more the director and I want to touch after that, usually no more than a second pass as you’ve described to add the odd window or do some selective colour adjustments.

Out of interest the ‘photochem’ first pass followed by a second pass for more D.I. type grading tweaks is pretty much how Breaking Bad was done.

Hey John!

Its a great way to work isn’t it. I love a session where I get to work with the DOP and we keep the picture looking nice and natural with some refinement. Unfortunately I do find that I don’t get to work with DOPs as much as I’d like and without them around clients tend to make much bigger grade changes than I’d like to.

I guess thats the fun of grading. Each grade is totally different to the last one 🙂

Dan