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what's so hard?



> > Many  wrote:
> > > 
> > > 
> > > In answer to your question, there isn't anything hard about being a
> colorist
> > > or a telecine operator **if**
> > > 
> 
 All,
 
 I might as well add my .02 to this thread and kill it.
 
 No one has mentioned the highly developed seventh sense of being able to
 "read" into a piece of film and discover the intrinsic values that are
 resident. You can manage a circus of art directors all day long, but if
you
 don't posess the undefinable skill of looking into the acetate and
bringing
 the magic to the surface, you will always be a mechanic first and a
 colorist last. There is nothing more  rewarding than peering into raw OCN,
 quickly surveying the filmic landscape, and in a matter of seconds
bringing
 an image to life that is entirely "yours", be it be natural or created.
 This skill set is something that can only be learned after seeing miles of
 exposures. Some good, some bad, and some ugly. After learning all of the
 film stocks, all of the camera mechanics, and all of the exposure
 setups...only then can you say "there's nothing hard about being a
 colorist", because you're field of experience has made it look so easy.
 
 Over to you, grasshopper.
 
 Bob Festa                                 festa at pacbell.net
 Encore Santa Monica               310 656 7663

*** 
thanks to Sam Dlugach, Dean Humphus, & Clark Bierbaum 
for support of the TIG in 1997
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