The way the project is prepared for color grading may depend on whether finishing and mastering will be done at the color grading facility or if there will be a round trip back to editorial. In small-size projects, editors and colorists themselves may be responsible for exchanging the materials and metadata. They are able to foresee any possible issues in the conforming and finishing stages. In large-scale productions, there can be an assistant video editor or online editor, for example, who is, in fact, a super organized, knowledgeable geek. Responsibilitiesĭepending on the size of the production, different people in different positions are responsible for preparing the picture-locked timeline for color grading from editorial, as well as receiving and conforming the timeline on the colorist’s side. In this article, we will cover the best industry standard practices for transferring the final cut of the project from the editor to the colorist.
Their aim should be to deliver optimal results and enhance workflow efficiency, ultimately saving time and money. Ideally, each and every person involved in film production should be thinking ahead while working. A colorist is one of those crew members in post-production who is responsible for getting the most out of the image to support the story by enhancing the creative vision of the director and cinematographer.
Making a film is a collaborative process that can involve ten or even hundreds of people who need to communicate in order to achieve their common goal – to make a high-quality visual on time and under budget. This is a how-to guest post by Mike Starkov, a master of Applied Maths and Physics | Post Supervisor | Colourist | BMD Certified Trainer | Asana Ambassador | 15+ years in film production | Senior Professor of the Faculty of Cinematography of the Institute of Film and Television. keyboard_arrow_rightCameras of the Year.keyboard_arrow_rightGear Guides by Type.keyboard_arrow_rightGear Guides by Budget.
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