Colorist now in NYC

[John Tissavary]

For those that have worked with me in Los Angeles & Detroit in the past, and anyone that would like to work with me in the future, I've moved to New York and have set up color grading and finishing services for feature film, broadcast, and commercials here in the Big Apple.

Send me an e-mail at john(at)postcollectivemedia(dot)com, and let's (re)connect and talk about doing some amazing work together in 2012.

cheers,

John T.

 

[jaadgy akanni]

Welcome to NYC John. I'm curious, why did you decide to move from LA to NY?

 

[John Tissavary]

Thanks for the welcome!

I was in Michigan for @ 1 year building the post production facility portion of a motion picture studio, and when it was time to leave my wife & I both decided we like NY better than LA. Though it's a big move - physically & career wise - I think it will prove to be well worth it in the long run.

cheers,

JT

 

[Kwan Khan]

physically & career wise - I think it will prove to be well worth it in the long run.

JT

Agreed.

Where you located in NYC @ John

 

[John Tissavary]

I'm in SoHo, in the process of working out a permanent home for my colorist services - stay tuned for more info.

 

[Blair S. Paulsen]

Good news for NYC image-makers. John did some excellent color work for me during his fling with the City of Angels. At at time (2008) when many colorists were badmouthing the RedOne's color palette simply because their favorite techniques and tools did not give them the results they expected, some colorists like John (also Mike Most, Leandro Marini, Neil Smith, a few others) forged ahead determined to find ways to make it sing.

Oh, and if you want to piss him off, tell him OpenEXR sucks ,-)

Cheers - #19

 

[Marc Wielage]

Pshaw. I don't know of any colorists that bad-mouth the Red Camera's color. We did tons of Red projects at Complete Post and Technicolor, and they're fine -- no better or worse than any digital camera in this price range.

What did sometimes drive me crazy was when producers would mix different cameras within the same scene. That led to trouble. I've also worked on projects where they made a budgetary decision to convert the R3D files early on to QuickTime HQ 422 or 444, and if this was done poorly, we didn't always have the range we needed to correct everything easily. Raw files are no problem to work with, provided the camera was white-balanced and black-balanced.

We did have technical issues with the Red early on, but most of those eventually got solved, and I don't think there's been any unsolvable problems since then. I'm sure John would agree, there's always a learning curve on this stuff -- for DPs, for producers, for editors, and for colorists.

 

[John Tissavary]

Blair - thanks for the kind words - I really enjoyed working with you in the past, hope to do it again sometime!

Mark - Agreed. Red did take extra learning & a little extra massaging, but it was worth it (to me, at least). I do remember getting some new clients in the early days because a few facilities were turning away Red jobs for one reason or another... and I am grateful for that!

Just about all that has been smoothed out by Red's continual development of the firmware, sensor, and color science.

cheers,

JT