Austin Warren

This is probably a long shot, but is anyone here a user of the Convergent Design monitors who also happens to have the CD LUT Utility software on their computer? I don't have the software, and because the company has been out of business for awhile, I can longer download it from anywhere I know online. A dropbox link or any way to get this software from someone who has it would be greatly appreciated!

This is probably a long shot, but is anyone here a user of the Convergent Design monitors who also happens to have the CD LUT Utility software on their computer? I don't have the software, and because the company has been out of business for awhile, I can longer download it from anywhere I know online. A dropbox link or any way to get this software from someone who has it would be greatly appreciated!

I'm looking for advice on shooting a conversation scene that takes place in the early dawn hours, when the sun is still behind the horizon and the exterior has a bluish look to it. The room it will be shot in has windows, so my initial thought was to put curtains on the windows to obscure the outside and then tent them from the outside. Inside the tent would be a daylight balanced soft box to make the curtain windows glow just enough to suggest that particular bluish light of dawn. The camera white balance would be set at around 3200. Is this a feasible and realistic lighting design, or are there other low budget techniques that would look better?

https://frankglencairn.wordpress.com/2014/01/15/everything-looks-better-on-kodachrome-k-tone-lut/ Here's a LUT that was developed that can be toyed with for desired results. The best way to get the rich colors found in these older vintage photos is to make sure your subjects are well lit. Notice that all these photos were taken outside with plenty of sunlight. So I would recommend planning for an ample lighting budget that doesn't just depend on practical interior lights that won't be nearly bright enough.

Does anyone have recommendations for vintage cine prime lenses that could be paired with a vintage Angenieux 25-250 T 3.9 lens? I don't mind a little chromatic aberration or curvature of field.

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 impractical then I can readjust. Thanks again for the advice

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?

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?

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, or because this type of film is more favored by European audiences, is something I'd be interested in knowing if you can answer it. Do you happen to know what any of the requirements are for European co-production? I know very basically that usually a certain number of crew members from whatever partner countries are involved have to be hired for the project. And I assume that for the national film funds, these are only open to residents (or citizens) of the specific countries? There are a lot of random grants and workshops through places like Sundance for films here, but they're probably as impenetrable as those in Europe. Also, I know you said you didn't get a formal film education, but do you know to what extent film schools in Europe actually help students join the industry? There are countless film schools here, none provide any kind of placement for students post graduation, and even with the best, you have to pay an enormous amount of money for something that isn't guaranteed, although you might have a better network afterward.

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 these grants and state funding? Furthermore, what are the pros and cons of the job market for DPs in Europe vs America?