Anthony Raffaele

I will always expose for the actors key light but tbh by the time I get it people are already use to the dailies. I’m usually intimately involved in that process. Communicating the intent of how you light will aid your colorist in how they grade.

sharpen the eyes. Mask them and try to get the light in the eye to sparkle a little. Vignette around the face ideally to reduce contrast and draw the viewer to the face. And if it’s not a close up don’t worry! if people notice it’s soft you have bigger problems.

Quote from Phil Rhodes: This is one reason I'm deeply suspicious of rockstar colour grading people - honestly, you can justify more or less anything, and I fear that in terms of both DPs and colorists, actual ability takes a poor seventeenth place behind being ingratiating and wearing nice shoes. You hit the nail on the head with this statement. Your talent level and skill and expertise has nothing to do with whether or not you are picked for a job. It's you credit list and your cool factor. Sad but true.

Have you tried coloring without the lut?

I would always say go with a 2k scan. It will always be better. If you go the telecine route you should keep in mind that it's not pin registered, which can lead to un wanted movement. Also there is a chance you can get frames that are morphed due to tension issues on the telecine. Remember these machines are getting older and are not seen as something most companies are sinking money into for up keep. As far as frame rate never transfer to anything but 1080p 23.98. It is the universal mastering standard. All other deliverables can be made from this format. If you do go the telecine route, I recommend a a flat pass to all my clients with a lifted gama curve to emulate a log space. Your colorist will thank you for it :)