[Tig] Keeping it fresh

Rob Lingelbach rob
Wed Apr 3 01:09:25 BST 2002


On Thu, Mar 28, 2002 at 10:29:20PM -0500, Robert Lovejoy wrote:
>      I watch TV fairly well, but after eight hours of staring into a monitor
> at work I'm not about to be a couch potato for long.  

I haven't owned a brain-disintegration device (TV) for... well, about 20 years.
I've found it more interesting and illuminating to watch compendia of spots 
released by that company that does compilations every month or so, at work, 
where I could be assured of the viewing environment, and had my color-correction 
shoes on.

>      How do you keep on top of your game?  Do you ever fall into a creative
> rut?  

This reminds me of an encounter with a well-known director with whom I was discussing
the approach we were going to use for his upcoming campaign.  He described in detail
how it was going to be shot, the light, the angles, and the overall feel he wanted.
I always like to give some processing time to the creative part of my brain, so I was
reflecting on all this input and after a pause of several seconds he thought I hadn't
been listening.  I explained that I was making connections and extrapolating
possibilities in my mind.... the director was accustomed to immediate responses I
guess.  My feeling is that the immediate responses are often too immediate, and that
upon further thought a more unique or suitable approach can be acheived. 

In fact if I'm given a storyboard and scouting stills a few days before the 
color-correction, I have time to examine the multitude of possibilities and often, 
after a day or two, an approach or sequence of approaches will present, for which I
can make convincing arguments.  It takes time to incorporate 25 years of experience
into a new synthesis.  Corollary: those who don't know history are doomed to repeat
it; i.e. inexperienced colorists may take an approach that has been in steady
decline.

> thing that's difficult about being a lone colorist is that there are bound
> to be some (hopefully few) clients who just don't "get" you.  What are the
> best ways to deal with this?  

sit in on sessions with other colorists/clients at other facilities.  Camouflage
yourself if necessary.

> colorist who would create a list with his clients, then take his leave of
> the session to start another session in another suite, leaving his
> assistants to lay down the film.  Mind boggling! (Is this an urban legend? I
> hope so!).

It's more often the rule in the top facilities in L.A.

-- 
Rob Lingelbach                          http://www.alegria.com
Sysadm, Computer Animation Lab            rob at film.calarts.edu
California Institute of the Arts           caltech at calarts.edu    

Most subversive influence in the U.S.A.: a good memory.





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