Stephen Latty
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http://www.vimeo.com/22468087
I'd like to share our new commercial color correction reel, corrected by Florian Stadler, Director of Photography and reduser, and me, Stephen Latty DIT/Colorist. We've been working with the DaVinci Resolve system since it was released last year, on a 12-core Mac with Red Rocket. We've just recently upgraded to the 24-inch Flanders Scientific monitor, which has brought our color grading work into a whole new world.
All footage is from RED ONE, MYSTERIUM X, EPIC, Arri Alexa, Phantom Flex & Canon 5D/7D commercial and music video productions on which we have worked, most of which Florian also shot. For some of these projects we did the final grades, on others we only graded the dailies.
As you all know, color correction is where we make or break our images; working in digital cinema, which gives us so much latitude to manipulate our images after we have filmed them, we recognize the critical need for directors and directors of photography to communicate their vision for the color grading of a project from the very first dailies transcode. This is particularly true in the commercial workflow in Los Angeles, as directors of photography are often not consulted or included in the color grading process. Our solution has been to make our DaVinci Resolve kit mobile, so we can consult with the director and DoP to develop sophisticated looks on set, as part of my transcoding work as a DIT. Or, we alternately take delivery of raw footage, transcoding and setting a look overnight at our studio (in Echo Park, Los Angeles).
I had the extremely lucky opportunity to attend an international gathering of cinematographers at the ASC in Hollywood to discuss the global art of cinema. The last words of the event were from Vilmos Zsigmond, who said that the most important thing cinematographers should fight for is final color grading of their images. That may or may not be a realistic goal, but it has stuck with me, and has certainly inspired me as a filmmaker and as a colorist.
Florian's work is primarily as a Director of Photography. I work as a DIT/Colorist on commercial sets, as well as shoot and direct other commercial and documentary projects. As a color grading team, we've benefited from having four eyes on the screen, which keeps us honest, as grading is one of the more difficult aspects of filmmaking to do alone. We are excited and open to working with folks on reduser to grade your commercial and/or personal projects. Hope you enjoy.
Stephen Latty
213-503-7011
www.stephenlatty.com
I'd like to share our new commercial color correction reel, corrected by Florian Stadler, Director of Photography and reduser, and me, Stephen Latty DIT/Colorist. We've been working with the DaVinci Resolve system since it was released last year, on a 12-core Mac with Red Rocket. We've just recently upgraded to the 24-inch Flanders Scientific monitor, which has brought our color grading work into a whole new world.
All footage is from RED ONE, MYSTERIUM X, EPIC, Arri Alexa, Phantom Flex & Canon 5D/7D commercial and music video productions on which we have worked, most of which Florian also shot. For some of these projects we did the final grades, on others we only graded the dailies.
As you all know, color correction is where we make or break our images; working in digital cinema, which gives us so much latitude to manipulate our images after we have filmed them, we recognize the critical need for directors and directors of photography to communicate their vision for the color grading of a project from the very first dailies transcode. This is particularly true in the commercial workflow in Los Angeles, as directors of photography are often not consulted or included in the color grading process. Our solution has been to make our DaVinci Resolve kit mobile, so we can consult with the director and DoP to develop sophisticated looks on set, as part of my transcoding work as a DIT. Or, we alternately take delivery of raw footage, transcoding and setting a look overnight at our studio (in Echo Park, Los Angeles).
I had the extremely lucky opportunity to attend an international gathering of cinematographers at the ASC in Hollywood to discuss the global art of cinema. The last words of the event were from Vilmos Zsigmond, who said that the most important thing cinematographers should fight for is final color grading of their images. That may or may not be a realistic goal, but it has stuck with me, and has certainly inspired me as a filmmaker and as a colorist.
Florian's work is primarily as a Director of Photography. I work as a DIT/Colorist on commercial sets, as well as shoot and direct other commercial and documentary projects. As a color grading team, we've benefited from having four eyes on the screen, which keeps us honest, as grading is one of the more difficult aspects of filmmaking to do alone. We are excited and open to working with folks on reduser to grade your commercial and/or personal projects. Hope you enjoy.
Stephen Latty
213-503-7011
www.stephenlatty.com
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