Collaboration & Process
As the colorist for your project, I'll adapt to your team's specific workflow and complete the project within your needed time frame. The following highlights the scope of my services and information on the three most common workflows, so you can determine how to best proceed, according to your project's needs.
Scope of Work
As your colorist, I'll make sure we get the most story-specific, professional, and high-end imagery out of your footage.
Specifically, my services will include:
Specifically, my services will include:
- Confer with DP, Director, and/or Producer about the film's look using reference images, films, and other media. We'll quickly define a clear color palette, contrast preferences, texture, and attitude.
- Consult with editor about color post-production workflow
- Color correct and match all clips in the project.
- Style the color grade of every scene and create a cohesive look for the entire piece--either as a standalone piece or matching others in a series.
- Incorporate notes and make corrections to arrive at the final product through a sequence of revisions or in-person.
- Deliver the film according to desired resolutions, gamuts, and broadcast standards for delivery platforms
Workflow
|
I work either with the client at my office workstation, on location, or remotely. While I adapt to the preferences of each client, each arrangement has its different advantages/disadvantages:
|
In-Person with Director or Creative Decision-Maker
This is the simplest way to approach the process. I would receive the locked project and prepared files from the editor and load them into my system in advance. Then the director, DP, or Producer would join me at my workstation in Long Island City, and we would work through the project together, so that we could hone the look in real-time. I charge a day-rate for this kind of workflow.
In-House
If you have a color station and prefer for me to work at your studio, I'm happy to do so anywhere within New York City. I color in Da Vinci Resolve and am happy to do so on any system that uses it. This would also be a day-rate situation. I would want to speak with the editor in advance to make sure the files are prepared and ready to work with, as to save time.
Working Remotely
I would color the film from my studio in Long Island City, NYC, and communicate via the internet/phone.
- You'd send the hard drive with the raw files will be sent via mail, or a pickup/time can be determined
- Once the picture is locked, the editor can send XML, EDL, or AAF files via e-mail or on the drive, so that I can load the project into Resolve. This process works well with Premiere. The more detailed file preparation process can be accessed here.
- Once I have the project loaded into my system, I would color correct each clip to match white balance, exposure, and skin tones from clip to clip.
- Then I would grade a representative clip from each scene for your approval. Once the looks are decided upon, I will craft the remaining clips to match.
- Using Frame.io or other review software, you will be able to document detailed moment-by-moment notes. Communications will occur via skype, phone, or any other preferred communication method.
- We often price remote workflow as a flat rate for the first pass and round of revisions and then at an hourly rate after that for further revisions.
Diverse Colorist & Filmmaking Experience
Experience: As a colorist, I've work with international brands--like Gatorade, Budweiser, and Zeiss-- multi-national corporations--like Nokia and Forbes-- and T.V. and film productions of all sizes. I've colored dozens of narrative films that have played at film festivals across the U.S. By working across many content types and distribution channels, I bring a wide skill-set to meet whatever technical and storytelling experiences we encounter.
Tools: I color using the industry standard, DaVinci Resolve, on a custom-built workstation with hardware-controlled calibrated monitors. This setup can handle the most challenging 4K, 6K, and 8K workflows so that no time is wasted on slow rendering or proxy-generation.
Collaboration: Lastly, as a working director, I have taught filmmaking and storytelling at Pace University, the Filmshop Collective, and other workshops in New York, This knowledge and communication experience allows me to translate story-centric direction into technical execution--making for a smooth collaboration experience with the Director, DP, and Editor and any other creative personnel.
Tools: I color using the industry standard, DaVinci Resolve, on a custom-built workstation with hardware-controlled calibrated monitors. This setup can handle the most challenging 4K, 6K, and 8K workflows so that no time is wasted on slow rendering or proxy-generation.
Collaboration: Lastly, as a working director, I have taught filmmaking and storytelling at Pace University, the Filmshop Collective, and other workshops in New York, This knowledge and communication experience allows me to translate story-centric direction into technical execution--making for a smooth collaboration experience with the Director, DP, and Editor and any other creative personnel.
Next Steps
|
You can reach me at: kevin@kevinbarberfilms 1 (646) 543-1329, via a scheduled call on skype at kevin.barber.m. Thank you! |