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Austin Warren

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    Los Angeles
  1. I'm aware the road to being a colorist and a DP are two separate career paths. I've actually shot one narrative feature, (trailer here--https://vimeo.com/456752075), but as all low budget projects go, they're fun to make but don't show up in the bank account. So I was just speculating on the feasibility of coloring as a side gig, because it's been difficult (for me at least) to make money and get experience from purely on set production while starting out. So I kind of viewed it as a color during the week and shoot during the weekend thing, assuming I got work at a post house. But if that's i
  2. Thanks for the advice guys. I appreciate it, grimness and all. Really I want to work mainly as a DP (or even 1st AC) but coloring interests me as well, and I've just been speculating on its effectiveness as a side job as I work toward my main goal. But obviously it's hard and possibly impractical to supplement one goal with another that may be equally as difficult to achieve. Would any of you know if trying to find work as an assistant editor or colorist at a posthouse is more difficult than trying to find work at a camera rental house?
  3. Anyone have any experience or advice on how to get steady work as a colorist? Is cold contacting color post houses a viable option? Also, is the workload and pay significantly different from editing?
  4. Thanks for the response, Vital. I'm mainly interested in the topic because I watch a lot of European films and am interested in making films and working on films that have more of an "arthouse" label to them -- essentially the kind of cinema that Europe is associated with because that's the kind that makes its way to American audiences. I guess the impression, from my American eyes at least, is that "arthouse" movies that couldn't usually be made in America are made more easily in Europe -- whether that's due to the fact that the national film fund doesn't require that a film makes a profit,
  5. I'm curious to know more about the state of the film industry in Europe vs America, particularly as it applies to independent writer/directors and DPs, from anyone who has experience working there or who lives there. I know that many arthouse films in Europe are produced through grants and/or state funding. What are the pros and cons of this system, vs the typical American system in which a director funds an indie through a well connected producer who knows A list talent or through various private investors? Is one system more prohibitive or better than the other? Who typically has access to t
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