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.
With July 4 celebrations this Thursday, ML Central is opting to take off next weekend for the Independence Day break.
This Newsletter won’t ship next Sunday but will be back the following Sunday and throughout most of the summer.
Let’s get to this week’s stories.
Happy Grading!
I’ll see you in two weeks!
Sincerely,
Pat Inhofer Chief Photon Wrangler, Publisher MixingLight.com
The Craft
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.
There’s more about this at the link: “Although the film was shot digitally, Ishiyama was keen to reproduce the ‘density’ of film as part of his effort to convey the period atmosphere. “In digital, everything appears overly clear. Film, on the other hand, has its strengths and weaknesses. To recreate a similar effect, I graded the film by breaking the delicate clarity of digital into gradients, creating smudges in the highlights and softening them.”
Newsletter stringer colorist Marc Wielage writes, “Here’s a fairly rare interview with Stefan Sonnenfeld about the work they did on the recent Netflix Black & White streaming series RIPLEY.”
My comment, Sonnenfeld, is quite to the point. Colorist Cody Baker offers up some crafty details about the project.
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The Minus One Edition – The Sunday Morning Color Grading Newsletter
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