Secondaries with the Pros - The Art and Technique of Digital Color Correction - page 237

D e f i n i t i o n
DI: DI stands for Digital
Intermediate. It used to
indicate that a film had
been shot on film, would
end up being projected
in a theater on film, and
in between was a digital
intermediate step where
the film was digitized
(usually by a film scanner)
and color corrected, then
laid back to film using a
film recorder. Now it is
a more generic term for
digital processing and color
correction of an image
that could begin digitally
and end up being shown
digitally.

Janet Falcon

Janet Falcon graduated from Tulane University in 1987. She has worked at Teleproduc-
tions, Inc. in New Orleans. In 1988 she went to work as Senior Colorist at Limelite/Edefx in
Miami and then moved to Miami Transfer before landing at Shooters Post in Philadelphia
in 2002, where she is now senior colorist.
Her commercial reel includes work for clients like Volkswagen, Chevy, Miller, Reebok,
Time/Warner, and Campbell's Soup. She has also graded music videos for the Baha Men
and Wyclef Jean, among others, and has been the colorist on full-length feature DIs such
as “Shadowboxer” with Cuba Gooding, Jr., “Teeth,” “Perfect Weekend,” and “Best and
the Brightest.” She has also graded episodes of the TV series Dinner: Impossible.

Secondary Corrections Can Focus Attention

Larry Field of Level 3 Post in Los Angeles used a vector qualification to
place the attention where it was needed in the scene I call “Music Video
Overhead” which was shot by Charles Vanderpool ( Figure 6.51 ) .

Charles Vanderpool

Charles Vanderpool began his career as a theater lighting and set designer off-Broadway
in the late 1960s and early 1970s before lighting for still photographers and then TV
commercial directors.
For the past 20 years, he has been producing and directing films in addition to his
role as cinematographer. He produced films for Kodak that helped launch many of the
new motion picture film stocks they've released in the last 15 years.
His production company, Vanderpool Films, boasts an impressive client list, includ-
ing the American Red Cross, Bank of America, the Discovery Channel, Kodak, HBO, IBM,
NASA, PBS, Orion Films, Sony Music, Toyota, and the United Way.

Before he begins, Field jokes about the general look of music vid-
eos, saying, “So no one's afraid of contrast in a music video. What I
would do if [the strong color of the floor] was a concern would be to
grab a color isolation on just that color and desaturate it after every-
thing else was balanced and that would send your eye to her bet-
ter. But first I want to start at a position where everything is where
we want to be instead of starting with just that color and everything
else is out of balance. I start basically with primary color correction.