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?

Maine Media Workshops Just came back from the workshop. It was great!

Wanna start one. Hehehe... It would be a great place to exchange technical and creative knowledge...

Hi, I'm looking for a less technical forum on color-correction/DI. Somewhere where people discuss looks etc... I'm not too sure this would be the right place. Any info would be greatly appreciated. Thanks! Charles Boileau www.chuckntwist.com Montreal, Canada

Here is a picture of what I'm looking for. Thanks!

Hi, I'm looking to buy a special gear I need for a set of lenses I have. It's a Arri pitch 3 inch long gear. It's usually used with zoom lenses or Hawk Anamorphics. I need it for my Lomo anamorphics (35mm in particular) Any idea where I could this? Or maybe get one built? There was only one in Montreal, but Trudel (the rental house) lost the only one they had (after I offered to buy it from them). Weird.... Anyways any help would be greatly appreciated. Thanks! Charles Boileau Montreal, Quebec

Forgot to mention I was shooting on Red-MX, build 30

Hi, I recently shot an ad with a Century Optics periscope (probably an old one). In keeping the spirit of low/no budget (the ad was for a film fest) we didn't have much time to prep and do tests. Basically, we made sure that the periscope was working and that we could get the angles that we wanted. No time to look our bring the footage to the post house etc... So yesterday I get a call from my D.I. guy and he's saying that the blue channel is all screwed up on the periscope footage. I did notice on set, once the shot was well lit, that the images we're a little bit flairy. Something I've seen before while interning at Panavision. But most of the time it was due to bad/old coating. Any take on how this would of happened? Probably for the same reasons due to old, overused optics? Thanks! PS: All I have is this tiny QT file for now. Notice how the lens is flaring on the highlights. On the skin and on the frame of the door.

The basis of the my inquiry was to get back to the original effect that inspired the plugin. Thanks for the info and I'll read up on the OZ process. Thanks again!

Oh you're losing me David. I'm not very well versed in 35mm post. Or, I don't understand your lingo. Can you please specify? Toned down would probably mean that the image is gloomy or dark, but the saturation is intact. The process they used is by adding a black layer thru some kind of transfer mode. I'm talking of course of a digital process. But he told me that it's something they would do in the processing or optical process. Unfortunately, I cannot give you an exact description as I haven't seen the footage. Thanks!

Hi, I was talking with a director friend of mine yesterday about his latest short movie. He told me that Technicolor used this new plugin they developed for an effect in his color-correction. The basis of this effect was a black layer the added to the footage that made the image very toned down without affecting saturation. He told me it's an effect that they also use in the optical process. I can't find anything on this subject. Does anybody know what I'm talking about? Thanks