Charles Boileau

I've been learning Speedgrade which is the most intuitive and easy to use software I ever worked on. Unfortunately, it's kinda expensive. I've had the good luck of finding a really dope mentor and a post house that was willing to hire me... Our workflow is very backwards from the way most colorists work. Whatever stage I'm at, I'm always grading the original footage. Which makes the adjustments very natural and non destructive. (colorists usually build a look and then pile on more adjustments on the look itself) To my knowledge Speedgrade is the only software that enables this kind of approach. It's very layer based (while having all the different rooms you'd be used to). We also work with luts allot. I create a look with different custom tools and film luts (which is great for log footage), then I crunch that look into a 3D lut. I then re-apply the lut to the master grade (which is last in my layer order). This enables me to always work on the original footage while seeing a full result of all the layers... Kind of complicated to explain in a post, but it's very simple in reality... The node system in the colorFX room is a great tool. I found a bunch of ready made effects on the web (some free). What's cool about them is that someone else spent the time figuring out, you just have to tweak them to your liking! Let me know is you ever need any help with color or projects.... I'm always down! Thanks!

Thanks for the link! Checked out your website... Great work!!! You seem to have a very interesting career! I'll definitely follow you on twitter! Thanks again!

Update on cases: They are 1650 and 1690....

I also have 2 card FW 800 card readers to add to the kit. One lexar and one sandisk. Thanks

Hi, Been working hard to obtain a colorist job and it finally paid off. I recently got an opportunity to get a mentor and a full time job in color-correction. This being said I have some DIT gear I'd like to sell: - License of 3CP 4.1 SET+POST SF - With 2 color charts - Future software updates included - Matrox MXO - Pelican 1600 case - Ready for a 27 inch monitor. - Pelican 1650 (or close) Very large case - I used it to carry my iMac 27 inch. Could easily carry a Mac Pro. Name your price! I'm very flexible! Send me an email at: charles@boileau.cc Shipping not included. Shipping from Montreal, Canada... Thanks! Charles Boileau Montreal, Canada @chucky_b_low

Only the sensor can crop your images. Most of these lenses will cover "full frame" 35mm still photography.

I think they used a 15 or even 10 degree shutter. The skinny shutter can help for intense action. But beware I personally find it hard to look at when it's misused... They also added some shutter phase in SPR. 15 degrees: 1/576 10 degrees: 1/864 Hope this helps!

Adrian is totally right... I recently watched the movie and the behind the scene footage because a director I worked with wanted that look for a music video. If he hadn't worked the production design the way he did the whole feel wouldn't have worked. The DI they did for the movie did added to the whole feel. Bringing back colors on skin tones that you see in the environment. Here is the music video I was talking about. It's not totally there, but it's pretty close (and it's in french!): Of course vimeo took allot out of the tones...

I say got to rental houses, ask them for a few mags and some exposed film. Do it a few times with light and then go to the darkroom.

http://www.finalcolor.com/

I use my Nikon lenses all the time with Canon DSLR's. Old primes and new zooms. I use this one: http://www.16-9.net/nikon_g/

http://en.wikipedia.org/wiki/Digital_intermediate http://www.icolorist.com/Library.html http://www.indieproducing.com/digital_tech_archives/intermediate.html You should be able to find everything you need... And, I'd say the role of the DP is: work closely with the colorist to establish a look. The colorist will ask the DP (early enough) what kind of looks he would like. The colorist will research and propose certain looks. Once a look is adopted the colorist will work his magic. The DP will either come in once in a while (or even sit there if he has the time) and make sure that the look is to his liking. Hopefully, the DP will trust the colorist enough to let him do his work... Hope this helps!

Montreal, Vancouver, Toronto for Canada

You want to slightly over expose any film stock you'd shoot with... For example I used 500 speed film on a short I shot last year. My meter was set to 400 in order to overexpose. Which is about 1/3 of a stop overexposed. This process helps with the blacks. And film holds highlights much better. I think the saying is: Expose for the blacks and print for the highlights. I don't think that Fuji needs any special treatment... THakns

What software are you using?