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Colorist Podcast

The top colorists in film, television, and music videos are interviewed in this podcast, hosted by Josh Petok.

Weekly hand curated podcast episodes for learning

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Episode 003: Gray Marshall

In this episode of the Colorist Podcast, I talk with Gray Marshall, Associate Finishing Artist at Technicolor in Los Angeles. At Technicolor, Gray has worked on the films Bridge of Spies, The Revenant, Captain America: Civil War, Ant-Man, and many others. But before making his way into color, Gray worked in many other parts of the industry. His roots were in the camera department of Star Trek: The Next Generation, and later went on to being a VFX supervisor and owning his own company, Gray Matter Post. Gray is probably best known for epic VFX shots like the building collapse at the end of Fight Club. Working in all these different departments has given him a unique perspective on the industry.  Some of the topics we cover: When VFX should be done by a colorist Working in Lustre and why colorists don’t use a panel with it Should grading be completed before or after a visual effects shot Stereoscopic challenges in grading Comparing tools in color and VFX The current state of ACES The future of high end color grading, VR, and HDR Twitter https://twitter.com/graymarshall IMDB Page http://www.imdb.com/name/nm0550902/ This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

43mins

15 Aug 2016

Rank #1

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Episode 18: Patrick Woodard

This episode is sponsored by Colorist Society International and Mixinglight.com. On this episode of the Colorist Podcast, I talk with Patrick Woodard, Lead Colorist at Digital Film Tree. Patrick is best known for his color work on episodic TV shows like NCIS: Los Angeles, UNreal, Weeds, and Everybody Hates Chris. He’s worked on programs that air on the major networks, like CBS, NBC, and FOX, as well as the pay networks HBO and Showtime. In addition to working in TV, he’s also completed spots for Oakley, DC Shoes, and Fox Racing.   Patrick built his foundation in photography, studying at the Brooks Institute of Photography. Combining this background with an internship at Digital Film Tree, set him in the direction of becoming a colorist. Moving up within the company gave him the opportunity to holistically understand the file-based workflow and the ways that it could be fast and flexible.  In this podcast, we talk about: How his background in photography served him as a colorist Challenges of working on a big budget TV shows The effect of streaming networks like Netflix and Hulu on television colorists Coloring for short form versus long form Collaborating with DPs and showrunners via remote sessions New technologies like 4K and HDR in television color ACES and other color-managed workflows Coloring for different TV networks PatWoodard.com Digital Film Tree Twitter Instagram IMDB This episode is sponsored by: Colorist Society International For more information on how you can become a member, visit, www.coloristsociety.com. Mixinglight.com Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

31mins

13 Nov 2017

Rank #2

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Episode 015: Alexis Van Hurkman

This episode is sponsored by Colorist Society International and Mixinglight.com. Director, writer, and colorist, Alexis Van Hurkman joins me on this episode of the Colorist Podcast.  There’s been many twists and turns in the career of Alexis Van Hurkman. He bounced around from audio, editorial, graphics, and visual effects. Ultimately, each of those steps in his journey contributed to his skills as a colorist. Along with grading his own projects, he’s finished programs for The History Channel, The Learning Channel, BBC Four, and WNET. Many listeners will recognize Alexis’s book titles, “The Color Correction Handbook” and “The Color Correction Look Book,” as well as the manuals for Apple Color, Final Cut Pro, and DaVinci Resolve. He’s also created several training titles with Ripple Training, featuring the newest features in Resolve. This epic podcast was one of the longest I’ve recorded yet. So long, in fact, that I’ve decided to split it up into two separate episodes. There’s a ton of great info and I didn’t want to lose any of it. In the first part, we talk about: The complicated path in becoming a colorist How writing increased his color knowledge and skills How he ended up working at Apple Working with and without a color control panel How the Fairlight page effects colorists Parallels between audio and color Learning to work in a client driven environment Visual Effects and how it contributes to a colorist’s skills Starting his own one man boutique grading facility Alexis Van Hurkman Blog Twitter Facebook LinkedIn Ripple Training Amazon: Titles by Alexis Van Hurkman This episode is sponsored by: Colorist Society International For more information on how you can become a member, visit, www.coloristsociety.com. Mixinglight.com Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

35mins

18 Aug 2017

Rank #3

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Episode 009: Peter Doyle

This episode is sponsored by Colorist Society International and Mixinglight.com. On this episode of the Colorist Podcast, I talk with Peter Doyle, Senior Colorist at Technicolor London. Peter has worked on some of the most popular films of all time like the Lord of the Rings Trilogy, Harry Potter films, and The Matrix. He has collaborated with major directors, Tim Burton, The Coen Brothers, and The Wachowski Siblings.  Peter helped pioneer the digital intermediate process we use today, working with a groundbreaking software package then known as “Colossus.” This would later evolve into Autodesk Lustre, and is used on many big budget films today. The look of his projects can be vastly different. From the hyper saturated look of Charlie and The Chocolate Factory, to the bleak and faded style of Inside Llewyn Davis, Peter is constantly pushing the boundaries of color grading. On the podcast, we talk about: Making the transition from visual effects to color How directors and DPs have shaped the way that he grades Grading a film “wrong” before it can achieve the right look Working on films from completely opposite genres Pushing the creative and technical limits of color Making color work look invisible Different challenges of working in broadcast television Using Baselight for color grading Advantages of knowing the technical background of color science Using a keyboard instead of a grading panel How ACES works in his grading pipeline HDR and how it can be used effectively to enhance the story Download full transcript  Peter Doyle at Technicolor London Peter Doyle IMDB This episode is sponsored by: Colorist Society International For more information on how you can become a member, visit, www.coloristsociety.com. and by: Mixinglight.com Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

40mins

14 Feb 2017

Rank #4

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Episode 014: Juan Ignacio Cabrera, CSI

This episode is sponsored by Colorist Society International and Mixinglight.com. On this episode of the Colorist Podcast, I talk with Juan Ignacio Cabrera, CSI. Juan has worked on the films Star Wars: The Force Awakens, Star Trek: Into Darkness, and Transformers: Age of Extinction. He’s been credited as a stereographer, colorist, compositor, and visual effects supervisor.  Juan got his start in the visual effects industry in Spain, starting his own business at 17 years old. He later moved to the US and was hired at Bad Robot and Paramount Pictures. Currently, he runs his own boutique facility, Lightbender Post, as Founder and Senior Colorist. His projects span everything from features, television, streaming, and video games. On this podcast, we talk about: Translating the skills of visual effects to color grading Completing or enhancing vfx in a color application Working with SGO Mistika as his color tool of choice Improvements to color grading applications Color managed workflows with ACES HDR and when it will gain wide acceptance Working in a big facility compared to running your own shop Low budget versus high budget projects Working with directors and DP’s Essential business skills colorists should have Why he joined the Colorist Society International Advice for up and coming colorists Lightbender Post IMDB This episode is sponsored by: Colorist Society International For more information on how you can become a member, visit, www.coloristsociety.com. Mixinglight.com Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

49mins

14 Jul 2017

Rank #5

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Episode 006: Rob Bessette

Rob Bessette joins me on this episode of the Colorist Podcast. Rob is a senior colorist at Finish Boston and specializes in coloring commercials. With over 11 years of experience, Rob has had the opportunity to color spots for Toyota, Coca Cola, Sam Adams, Subway, Chili’s, Dunkin’ Doughnuts, and many others.  Rob became a colorist though a more traditional path. He worked his way up from the ground level while working at night, and then mentored with a seasoned colorist. For several years, he had the opportunity to learn telecine and graded a lot of film. I first met Rob while he was working the Blackmagic Design booth at NAB. He had the experience of hearing people’s opinions from all over the world while demoing the latest software that he had to learn at a breakneck pace. We talk about: What drew him to working in commercials  How working with great directors and directors of photography shapes the way he grades Strategies for working with food that will make you hungry Opinions on working with the full panels and what he would change about them Strategies for creating a great demo reel How he uses social media for marketing and networking Working the Blackmagic booth at NAB and learning the software in one day Why the inexpensive price of entry for color grading is good for the industry Colorist’s work that he admires Software other than Resolve he would use to color commercials Rob Bessette - Colorist Website http://robbessette.com Finish Boston http://www.finishboston.com Twitter http://www.twitter.com/robsbessette Instagram http://www.instagram.com/robsbessette This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

44mins

15 Nov 2016

Rank #6

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Episode 011: Dave Abrams

This episode is sponsored by Colorist Society International and Mixinglight.com. On this episode of the colorist podcast, we’re trying something a little different. We take a break from talking with a colorist to focus on something quite a bit more technical. Dave Abrams, monitor calibrator and owner of Avical, joins me on this episode. It’s about to get seriously geeky, and in the best possible way :) Dave has been calibrating monitors for over seventeen years. He’s been through the transitions from SD to HD, tape and film to file based, and now 4K and HDR. Post facilities from all over the world rely on his expertise and knowledge of monitors to get the most consistent and accurate monitoring possible. High end home theater owners also use his services to get great looking images at home. And seeing both sides of each situation gives him a great perspective on the industry as a whole.  On this podcast, we talk about: How HDR is changing the approach to calibration The differences between calibrating by the numbers and when to go with your instincts The HP Dreamcolor, Eizo, and other computer monitors for color critical evaluation Room lighting considerations when setting up a grading room Comparing OLED, plasma, LCD monitors Considerations for large size client monitors used in combination with hero monitors Projects that are destined for web distribution and how to monitor for them Where the future is going for monitoring and what they still are lacking Avical Facebook LinkedIn Twitter This episode is sponsored by: Colorist Society International For more information on how you can become a member, visit, www.coloristsociety.com. and by:  Mixinglight.com Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

48mins

14 Apr 2017

Rank #7

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Episode 008: Dale Grahn

On this episode of The Colorist Podcast, I talk with veteran film color timer, Dale Grahn. Long before films were colored using computers, Dale color timed movies, using the only technology available at the time: printer points and printer lights.  He is best known for pioneering the bleach bypass look of Saving Private Ryan, and he’s also worked on other huge films like Gladiator, Minority Report, The Ring, Die Hard, and Bram Stoker’s Dracula.  His work included animated films like The Lion King, Aladdin, Toy Story, and Beauty and the Beast, which required a different workflow that many timers avoided altogether. He’s collaborated with the biggest names in the industry like Steven Spielberg and Joel Silver. Currently, he is a fellow of the Colorist Society International and has directed his energy towards recognition of colorists worldwide. On the podcast, we talk about: When he got his start as a color timer How timing differs from color grading or telecine Gaining the opportunity to time is first major film, Predator The bleach bypass look and how it happened almost by mistake Director's and Cinematographer's role in his work Why animated films required a different approach Creating looks with the limited tools available in color timing Why printer points are still used today Working without seeing the immediate results of color changes How the Koji Color film emulation LUTs were developed ACES and getting everything to live in one color space His role in Colorist Society International, and why it’s important for colorists today His advice for colorists coming up today Dale Grahn, IMDB Page  Koji Color Dale Grahn Color for iPad Mixinglight Review of Koji Color Cannibal Women in the Avocado Jungle of Death ;)  This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

39mins

17 Jan 2017

Rank #8

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Episode 010: Warren Eagles

This episode is sponsored by Colorist Society International and Mixinglight.com. Veteran colorist and ICA instructor Warren Eagles joins me on this episode of the Colorist Podcast. Warren has been coloring for over 26 years. He’s graded a broad spectrum of projects from commercials, drama, and features. He’s best known for his work on Lock, Stock, and 2 Smoking Barrels, and recently has colored two indie features: Blue World Order and Project Eden: Vol 1. I first came in contact with Warren 10 years ago when he created an FXPHD class for the da Vinci 2K plus. He drew back the curtain to the expensive color grading rooms that were almost impossible to gain access to. Fast forward to today, and Warren is still empowering his students with the knowledge to color through his own endeavor, the International Colorist Academy. Partnering with Kevin Shaw, they created a worldwide training program for colorists, by colorists. On this podcast, we talk about: His start in telecine and how it formed his grading style How daVinci systems have changed over the years Features that are still lacking from color grading systems Doing visual effects work as part of the color grade How color grading panels speed up his work Impressions of the new Blackmagic Mini and Micro Resolve Panels The differences in workflow with commercial, television and feature work Keeping your clients happy and the session flowing Making and keeping solid connections with DPs Why the Colorist Society International is an important part of our community His perspective on the reduced price of grading systems and its effect on the post production industry Warren Eagles Website Warren Eagles IMDB Twitter LinkedIn International Colorist Academy This episode is sponsored by: Colorist Society International For more information on how you can become a member, visit, www.coloristsociety.com. and by: Mixinglight.com Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

44mins

15 Mar 2017

Rank #9

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Episode 005: Terence Curren

In this episode, I talk with Terence Curren, a Colorist and Online Editor in Los Angeles. He’s known for unscripted television shows like Project Runway, True Life, Ghost Hunters, and many others.  He got his start at the well known post facility, Matchframe Video, as employee number one. At Matchframe, he was one of the first editors in LA to work with Avid Media Composer, Symphony, and DS. And to this day, he still colors and finishes his shows on a Symphony.  In 2002, after 16 years at Matchframe, he moved on to starting his own company, Alphadogs. Many LA post production professionals are familiar with Alphadogs from their monthly meet ups called The Editor’s Lounge. It’s been a hub for people to learn about new technologies, directly ask vendors questions, and socialize with other pros. It’s been a great resource for over 13 years and I’ve personally learned a ton from attending them. In this interview, we talk about: How his start in editing affects his approach to color  Running his own business from a colorist’s perspective The commoditization of post production gear and how it changed the business  How and why the monthly Editor’s lounge started  Using an Avid in color workflows and why they can save time  A history lesson on the Avid DS and why it was killed His thoughts on groups for colorists and how they can bring change Baselight as a plugin within Avid  Using the keyboard and Wacom tablet instead of a panel Alphadogs http://www.alphadogs.tv Editor’s Lounge http://www.editorslounge.com IMDB http://www.imdb.com/name/nm0192914/?ref_=fn_al_nm_1 Twitter https://twitter.com/terencecurren This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

35mins

17 Oct 2016

Rank #10