Graphics Reference
In-Depth Information
In even more recent history, the technology and workflow of color correction has
transitioned yet again. Instead of the telecine transfers or film scans, colorists are pri-
marily seeing file-based footage from cameras such as the RED, ARRI ALEXA, and other
HD and digital cinema cameras. Festa claims he hasn't touched a roll of OCN since 2007
or 2008.
Regardless of the technology or the originating format, the trick to grading an entire
project on budget is to leave enough extra time to work on the shots that really need
the additional attention.
Until you get more experienced at estimating how long you need to really tweak an
entire project, try to get a first pass at all the shots done in half of your budgeted time.
Then use the second half of the time to polish the overall corrections and devote extra
time to “trouble” shots or those that have high emotional significance or importance
to the story,
Also, don't forget to leave time for revisions, especially if you don't have absolutely
every single decision maker in the session.
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