Graphics Reference
In-Depth Information
Premium. Total percentage is over 100% because some colorists use mul-
tiple systems. His results are as follows:
Of the 80 respondents worldwide on the day of the poll in late 2011:
• 40 percent were grading on Resolve
• 17 percent were grading on Film Master
• 13 percent were grading on Baselight
• 7 percent were grading on Color
• 7 percent were grading on Lustre
• 5 percent were grading on Scratch
• 3 percent were grading on DaVinci 2K
• 3 percent were grading on Pablo
• 3 percent were grading on Avid DS
• 3 percent were grading on Pandora
• 3 percent were grading on Pogle
• Resolve, Lustre, and Film Master were the primary US systems.
• Nearly all of the Baselight users were in Europe and Britain.
• Most of the Color users were in South America.
The footage being graded came from RED/EPIC (~20%), Alexa
(~18%), followed closely by Canon DSLR footage, XDCAM, and film
(~15% each). The rest included various flavors of SD and compressed
HD video.
Taking It to Extremes
When I see them trying to get a certain color, I say, “Just go overboard.”
Show me
beyond
what we're talking about.
- David Mullen, ASC.
David Mullen, ASC, explains how he likes to communicate with col-
orists. “When I see them trying to get a certain color, I say, 'Just go over-
board.' Show me
beyond
what we're talking about, because when you're
fiddling with something subtle, it's sometimes a problem that you're not
quite seeing the effect you want. It's better if you just overcrank it for a
moment and then pull it back down.”
This is similar advice to Festa's adage: “You don't know if you don't go.”
Festa extends the analogy, “I use it like a motorcycle, I mean I want
to rev this up a little bit and see where the blacks are going to take
me or rev the whites up and see where they go. Just constantly push-
ing things and sniffing around. I probe for the extremes, always seeing
where the image is going to either: (a) fall apart or (b) come to life.
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