Respect the photography & understanding node pipeline are my favs, really changed my perspective, also not being so religious with scopes

I needed this 10 years ago!

Keep em coming love these insights - entering into the colourist forums is like a mad jungle sometimes, I must admit the obsession with plug ins and tools over just understanding basic principles tools, light and colour is astounding, and yes the gatekeeping is ridiculous.

LESS IS MORE!!!!!!

This is so great! I am not even all the way done and it really resonates. I had a client once tell us "you are the most expensive but that's why we give you the higher end projects that are higher profile." But yes, you have to give and take per project to make it work for everyone.

Fantastic, practical and truly usefull advice. As usual, you guys cover all the right points. 🏆

Great view on this topic. Something myself and a few close freinds (nainly people commenting on this thenselves) have discussed together .

Love this episode!!! ❤

Great episode!

agree with @MarkToddOsborne As the demand for high-quality visual content has increased, so too has the pressure to cut cost. This trend, unfortunately, devalues the skill and time required for professional color work. By engaging in open and transparent discussions with fellow colorists, I've found that we can better understand and address these challenges together. Sharing experiences and strategies has been incredibly beneficial, not only for maintaining the integrity of our work but also for ensuring that we are compensated fairly for our expertise.

Excellent episode. All of these points were extremely on the mark!

Since 2020 I have been having open & transparent conversations on this topic with other independent colorists and from what I hear, it has been most helpful for everyone.

🏆🏆

As always, I just enjoy listening to you to edumacate us out here. Keep it up!

Can that link shown about 6min in be put in the notes?

👍

Most misunderstand 4K and 8K. One of the chief goals of UHD is increasing the FOV, which is pretty significant. But most households haven’t changed their viewing distances much since SD. Only a small percentage of ppl sit 1.5X PH from their TV.

Great podcasts guys. Thanks! My Trade Show Survival Kit - 😄Oy . . . • Chapstick • Hand Sanitizer • Wipes • Kleenex • Water • Mints/Gum • Nail Clipper • Bandaids • Business Cards • Flash Drive

Excellent conversation...plz make these kind of valuable content...Thanx

Another great episode!

Great chat! I think I'll give IBC a miss in favour of coming to NAB '25, seems like last one was a good vibe!

Great episode! Remember to take use of the tesla loop and choose your hotel wisely. It might not be worth it to be far from the strip if you have to uber constantly instead of the monorail

Another great topic and podcast boyz! "Skin Tone Line" !?!? WTF is it in real life??? "Over grading" many times I just need to delete my grade and start over. Node Trees where I want to ask? Do you get paid by the node???? Buying a LUT for the T&O look makes me want to sell you the Brooklyn Bridge. P3 grade/trim a must for theatrical is such a myth! You can make a great DCP from a Rec709/2.4 master, especially for a Doc. When I grade in the theater I almost always turn off the monitor.

Required listening to all aspiring colourists!! Perfect 👌👏👏💯 You didn't mention the benefits of NR at the beginning of the node graph if your hardware struggles to stay real-time, node cache noise reduction at the beginning and keep tweaking your grades!

Ive had the skin tone discussion quite a few times (often frustratingly) mostly in concert performances with stage lighting where the director keeps saying the skin looks blueish/reddish, sometimes on 1 side of the face, whatever and Ill explain that there is blue/red lighting all over the stage and thats just what the scene looks like. Lets not force it to be something its not.

This is great stuff guys - I love hearing discussions between technical pros such as yourselves. I think Robbie is correct on the color science and in many artists through the centuries have painted in the 3 color palette. And the wheel that we use is an RGB wheel for "mixing light" and the complementary color is as Robbies described. The great oil painting of the master - especially religious use the blue and yellow colors and then would guide the eye with a color like Red. I have made the joke in the past, that if you look at a religious painting and one guy is wearing red, it's usually Jesus. Although Joey's tungsten and daylight explanation completely makes sense as well. I do remember discussing oil painter's and palette with Walter in the past with such artists as Michelangelo, 
Mersey da Caravaggio,
 Rembrandt and others. Studying a lot of art also can show some info on skin tone as well. I watched a really long video on the colors of skin in painting and realism - the idea of warmer highlights and a graduation to shadows that in natural aspects outside in sun will actually shift to colder hues on the shadow side. So the tight skin tone hues that people force on skin - makes it look unnatural. I don't agree with noise reduction at the end of the nodes because it can change your textures. My thinking is that any spatial effect that involves pixel-level manipulation across the image, like a film-like texture, the use of spatial noise reduction can alter those ( and any other ) textures that have been applied before it. So for me it's at the top for me. The logic is that I like to get get the camera footage to be as good and clean as I can get it to bring it closer to how I wished it was shot. Feel bad that it's taken me this long to get to these podcasts - this is episode 12 and I am now going to go back and listen to the rest. Great thoughts and knowledge here.

I use the 3:2:1 rule.. 3 copies, 2 types of media (LTO/HDD), 1 offsite.

Another great episode guys!

Great chat as always! A sub topic... Back up /archive of the project vs back up /archive of the media. I'm much more careful with my project drp than the media the client sent me.

Love these open discussions on the not so sexy aspects of post. As an aspiring amateur colourist and online editor, it's awesome stuff. Cheers from Australia 🦘

Great episode ~~！and thanks a LUT ~

Great episode and very important!

That node selection triggering through the streamdeck is sweeet!!!

Another plus about client in front of the colorist is that you dont get the light pollution from your gui monitors if you are in front of them.

Nothing worse than getting a 90 minute ProRes4444 file of just lower thirds from a client. Huge file that is mostly black (OK there are some worse things but that one is frustrating).

Great shirt Joey!

Great episode guys🏆And I hope all editors will watch this. I've been editing and grading since 2006, and have never used proxies, and have never understood why anyone would want to edit with anything else, except in the old days(90's to early 2000's) when the hardware wasn't up to the task. No excuse these days tho . . . and with things like "Project Collect" in Premiere, no need for more than what's on the timeline to hand off to the colorist. I've received probably every kind of media from the client because that's all they had, but it was a nightmare. And you're right . . . the key is to communicate with the client and espcially thier editor. Thanks!

Another great chat, thank you! My example of where dissolves can fail in the baked workflow - dissolve from a colourful grade to a black and white, 0 saturation grade, you always see a bit of colour in the clip that should be b/w! I'm not a fan of the term 'up-rez' (I'd say that's what Topaz or Super Scale does), I prefer 'relink to original rez'.

Great discussion guys!

I saw these at IBC and BSC Expo, they both look awesome! Someone I know was worried that apparently the ABL kicks in very early - that would make it hard to calibrate and annoying to watch if the brightness isn't consistent. Any thoughts? I didn't notice this at all on the test footage Bram was showing.

What are your thoughts on the XMP310 being limited to only 1,000 nits while the larger models can do 2,000?

Consumer QD-OLED TVs cannot begin to approach the color accuracy of FSI’s QD-OLED monitors.

Had 3 BVM32s. There was a setting where you put in the direction the monitor was facing since the magnets were so strong.

Ha! I did exactly what Robbie mentioned -- I had a roll of film stock sitting in my fridge since 2007, took it out, shot some charts, scanned it and profiled it (in a not too scientific way). Well worth the effort.

Some People in the film industry are Elitist.... Color me shocked (pun intended).

"I'll be ready" - Joe D'

Great episode guys!

The dvx100a was and still is one of my favorite cameras of all time!

I so agree with your comments about grain at about 37:00. I use grain (Resolve) a lot but not really to add "grain" but more about adding a texture to the image. A perceived softness.

Love these podcasts! Thank you. Analogy for ML (Ai) - ask an English person to match a Chinese letter to a Arabic letter, after many trials & errors they match all letters. But the English person still can't understand Chinese or Arabic. That's my computer ML, billions of trail & error goes to 'learn' how to get a result.