![]() ![]() ![]() These should be done prior to color grading to allow the colorist to match all the clips. Note on VFXīefore we move to the next step, I’d like to talk about VFX and compositing. ![]() It’s also good practice to keep media bins inside your Premiere project neatly organized and clearly named. In case of a ramp, I would suggest asking the colorist to grade the full clip and re-apply the speed ramp post-coloring. If it’s unavoidable, try to use constant (linear) retiming and not variable retiming like ramps. Retiming introduces a higher risk of timing and sync issues, so it’s something to avoid if possible, as it requires coloring the retimed clip(s) separately. So here’s how to prep your Premiere Pro project in a way that will make colorists want to work with you more than once. By properly anticipating the needs of the colorist you can save them a considerable amount of time and stress, as well as reducing the overall project cost. This is stressful when the client is expecting you to color grade and instead you’re wasting time trying to get things to import properly.Īs a colorist, there’s a lot to keep on top of, from color spaces to LUTs, screen types and scopes. Building your reputation as an editor who makes things easier for the colorist will help to build stronger relationships that can only benefit your career.ĭuring my own career, I’ve worked on a number of projects that took longer to reconcile properly in the coloring software than to actually color the project. Just like editors, colorists have different sets of rules and requirements, but they all want the same thing as the rest of us – a simpler life. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |