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Re: Working Together



      I have watched with intrest the great debate raging on this froum for
the past
few days and I am fascinated. As a former colorist who works in a video
operation
of a lab I know many cinematographors and have seen the increase of video
dailies in the feature world. Two years ago Duart gave a seminar on the
dangers
of judging dailies for projection on a video transfer. We stressed then when
the
budget permitted or if there were any questions a print should be made and
screened by the DP and the director.
     We also stressed that a relationship had to grow between the colorist
and the
DP for the job to work properly. I have read many angry comments on these
pages
from colorists and DPs and I just would like to say to both sides chill out!
We are
all in this together and if you approach it from the antagonistic standpoint
we will
never get anywhere.
      Yuri is 100% right when he says some colorists don't have a good film
background.
Until I went to Duart I had very little film knowledge at all yet I use to
make judgements
about film problems all the time. When a client calls me and tells me " my
colorist says it is a lab problem, he sees it all the time" I tell my client
to have
the colorist send over his last transfer and let my senior lab guy tell him
what the
problem with his chroma levels are. Know what, the senior lab guy would never
presume to do that, he dosen't have the training or education to do that and
9 out of
ten times neither does the colorist making the statement about the film
problem.
      The colorists are right when they say that DPs have no idea what it is
they do
in the telecine room. How many DPs call and give detailed instructions about
how 
to transfer 10,000 feet of film and then say can I pick it up in an hour.
Give me a break.
Just today I had a top DP call me and say the first days dailies of the show
were
too hot and my director is going crazy. What did you screen them on? A vhs on
a
lousy monitor. Why are you wasting my time with this call? PS he looked at
the 
D2 and everything looked great.
      My point is we all have a lot to learn about each others jobs. As
colorists we
get blamed in the field to deflect the heat from the DP or the producer, we
have to
accept that as part of the job. Yuri has made an attempt to bring the two
worlds a
little closer. Whether it works or not is open to debate but we should not
lose sight
of the fact that we are all still learning, no matter how well paid you are
or your 
knowledge of art and lighting history we can learn from the DP and they can
learn
from us.


Domenic Rom
Duart Film and Video