The present and future of post production business and technology | Philip Hodgetts

Nov/12

9

An ode to the colorist or finisher!

Good editing, they say, should be invisible. Great audio not only enhances the picture but a well designed soundscape takes the project to a whole other level. Similarly, we never notice the work of the “finisher”, or colorist (although at the most basic level) – or even the editor – who makes sure that all shots are balanced, and consistent.

It’s not something you notice, until a show comes along so bad that it affects the enjoyment of the show. These two shots are just one of the many, many, examples from the same show where shots are gray and washed out, or overly contrasty. Even when they are purportedly the same set up.

With just one shot between them, this is typical of the jarring jump in levels. They’re on green screen with the backgrounds matted in – very obvious when the hair line just gets blurred because, well, doing a decent key was too hard?

I know budgets are tight, but seriously, the rarely-great-but-never-this-bad color match feature from FCP X would be better than this!

These are stills extracted from a digital file, not screen shots. What was seen on the screen had slightly different gamma (not surprisingly) but otherwise was just as jarring.

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