For the past months I’ve been working as a colourist and online editor on a Fatal Vows. This new show was produced by CMJ Productions for Investigation Discovery in the US. It’s a documentary/re-enactment series that tell the stories of some marriages that ended badly…very badly.
The 13 episodes were shot Canon C300 with a 5D mkII as second cam. Both were rolling in 1080p at 23.98. They were edited on Final Cut Pro 7, graded on Color and finished with FCP7.
If you are interested, here is the link to the Fatal Vows mini website:http://investigation.discovery.com/tv-shows/fatal-vows
The show will also air on CTV and Canal D (French) in Canada. It’s also being distributed in England and Australia.
In the past months I’ve done a lot of freelance grading gig. Clients send me their hard disk and I grade their film in my suite and I send them back the drive. Pretty easy isn’t it? Well, not for everybody so I end up spending a lot of time on the phone with editors, assistant-editors and technical directors explaining them how to export an XML and how to do a Media Manager the right way. So I decided to write a simple procedure to help them and to save me some time.
So here is an 11 pages procedure explaining how to prepare a Final Cut project and all the elements needed to send a film to a colourist working on Resolve. Don’t worry, it’s not too long, I just took time to explain some details, took screenshots, wrote a table of content and tried to indulge some basic naming theory. I also added a form for client to fill and send with their project.
As english is not my first language, feel free to send me comments or to report mistakes by email at matATilovehueDOTnet
It’s not often that I post links here but this is a good one, an essential one. The guys at International Colorist Academy did an amazing job at building a timeline with all the major milestones in the History of colour correction and grading. It goes from the first photograph shot in 1826 to the first digital camera and the evolution of the telecine.
I strongly suggest anyone involved in color grading, online editing and image processing to give it a look. Here is the link: http://icolorist.com/library/history-of-color-correction/
I just can’t wait to put on more clips or update my demo with these spots. For the second year, FPLQ bet on this know-it-all character to push their campaign. I was hired as colorist to grade all the spots for this season. I like this soft, lightly desat look…and this guy is really funny.
It all happened at La Cavalerie in their Resolve room. They were also features in Infopresse a while ago. Just catching up here.
I got a gig back in semptember to work on a pretty simple gig at La Cavalerie. The production house installed a very nice Resolve room in it’s post facility all complete with a nice OLED monitor, ultrascopes and a Wave. Clients can also sit comfortably in leather couches arranged in a theatre config.
This spot was created for Rona by the well know creatives at Sid Lee and directed by Francis Leclerc. I’ll post the links as soon as I can.