Podcasts about international colorist academy

Kevin Shaw has been a colorist for over 30 years. He has worked full-time in London, Italy and Switzerland, and also started the da-vinci training academy in Florida. Kevin co founded the International Colorist Academy and is a driving force behind the Colorist Society International. He currently lives in London, but we took this opportunity to record the Podcast whilst in Beijing last year.

This episode is sponsored by Colorist Society International and Mixinglight.com. Veteran colorist and ICA instructor Warren Eagles joins me on this episode of the Colorist Podcast. Warren has been coloring for over 26 years. He’s graded a broad spectrum of projects from commercials, drama, and features. He’s best known for his work on Lock, Stock, and 2 Smoking Barrels, and recently has colored two indie features: Blue World Order and Project Eden: Vol 1. I first came in contact with Warren 10 years ago when he created an FXPHD class for the da Vinci 2K plus. He drew back the curtain to the expensive color grading rooms that were almost impossible to gain access to. Fast forward to today, and Warren is still empowering his students with the knowledge to color through his own endeavor, the International Colorist Academy. Partnering with Kevin Shaw, they created a worldwide training program for colorists, by colorists. On this podcast, we talk about: His start in telecine and how it formed his grading style How daVinci systems have changed over the years Features that are still lacking from color grading systems Doing visual effects work as part of the color grade How color grading panels speed up his work Impressions of the new Blackmagic Mini and Micro Resolve Panels The differences in workflow with commercial, television and feature work Keeping your clients happy and the session flowing Making and keeping solid connections with DPs Why the Colorist Society International is an important part of our community His perspective on the reduced price of grading systems and its effect on the post production industry   Warren Eagles Website Warren Eagles IMDB Twitter  LinkedIn International Colorist Academy   This episode is sponsored by: Colorist Society International For more information on how you can become a member, visit, www.coloristsociety.com. and by: Mixinglight.com Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

On this episode of The Colorist Podcast, I talk with Kevin Shaw, CSI. Kevin is the Senior Colorist at Final Frame, London and a 30 year veteran of the industry. His commercial credits include work for IKEA, Jaguar and Levis, as well as the movies “Monsters” and “Streetdance 3D.”  In addition to his work as a colorist, Kevin is a founding member of the Colorist Society International, as well as a trainer for ICA. We discuss some misconceptions about HDR and grading, doing VFX in the color bay, and why the Colorist Society was formed.   Twitter http://twitter.com/kevscolor   Kevin Shaw’s Personal Website http://www.finalcolor.com/   Final Frame, London http://finalframepost.com   International Colorist Academy http://icolorist.com   Colorist Society International (CSI) http://coloristsociety.com  

In this episode of Color Talk we dig in deep with Kevin Shaw, Instructor from the International Colorist Academy, about his new class - Advanced Color Grading. We do not talk about the specifics of how you use Resolve or SpeedGrade or the Nucoda color grading system or Baselight. Instead we delve into Kevin’s particular approach to teaching color grading, which is less about the tools and more about the philosophy of how you think light and color.

Up next is a conversation with Cédric Lejeune on the topic of color consistency in post-production workflows. This is a big topic, and it would be easy to drill down into a dozen different niches. Instead, I gave Cédric an opportunity to talk about the issues and opportunities for small post-production companies to focus on color calibration, color correction, and color grading to increase the value of their work and be more competitive. Background Cédric’s company is Workflowers, and he specializes in digital cinema and video workflows, infrastructures, and colour science. In 2006 Cédric started Workflowers to develop consulting and training services, accompany film labs in the transition to digital, and help post-production step into the cinema world. He specializes in digital cinema and video workflows, infrastructures, and colour science. His work on online collaborative environment and content management tools has made him an expert of cloud technologies for media. He also develops CPGP plugins for color grading systems that are used by major studios such as Efilm, Technicolor, Cinepostproduction. Cédric Lejeune is a member of the CST, and has a lecture at Université de Valenciennes about technologies and network infrastructures for content creation. He’s an Autodesk Certified Instructor on Lustre, member of the DKU (Discreet Knowledge Unit), and a color science instructor at the International Colorist Academy. Many thanks for his time as he was preparing for a trip to Singapore to lead a session with Cine-tal on color workflows at Broadcast Asia, sponsored by Dolby. Wish I could attend. Questions 1. What was your original inspiration for focusing on color science and its relationship to higher production values in storytelling? 2. I know you have a seminar planned at the Broadcast Asia conference in Singapore on June 21. Why are these topics important to teach, and who should be interested? 3. What are the key issues today that need attention in post-production workflow? 4. Let’s talk about trends in the display, cinema, and post-production industry from your perspective, starting with: color calibration, greater variety of display technologies, and how to bring better color consistency across all displays versus only the reference monitor. 7. Are wider color gamuts coming for commercial displays like, say, with 4k? 8. What do you think the evolution of 4k is going to look like in the next 12 months? Who should be focusing on 4k now? 9. Will ACES (Academy Color Encoding System) get broader use? Why and when?