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	<title>Film-TV</title>
	<atom:link href="http://www.jimwicks.com/feed/" rel="self" type="application/rss+xml" />
	<link>http://www.jimwicks.com</link>
	<description>Colorist James Wicks &#124; 561-721-5187</description>
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		<title>Luma Key</title>
		<link>http://www.jimwicks.com/news/luma-key/</link>
		<comments>http://www.jimwicks.com/news/luma-key/#comments</comments>
		<pubDate>Sat, 21 Apr 2012 15:08:57 +0000</pubDate>
		<dc:creator>James</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[Golden Age of Mexican Cinema]]></category>
		<category><![CDATA[James Wicks]]></category>
		<category><![CDATA[La Escondida]]></category>
		<category><![CDATA[Senior Colorist]]></category>

		<guid isPermaLink="false">http://www.jimwicks.com/?p=3996</guid>
		<description><![CDATA[I am currently the Senior Colorist on a huge project to restore and color correct hundreds of classic Spanish-language films that are intended for U.S. distribution via cable and satellite. Once the films are scanned to digital, and restored, they are sent to me for color correction. To date, I have worked on scores of [...]]]></description>
			<content:encoded><![CDATA[<p>I am currently the Senior Colorist on a huge project to restore and color correct hundreds of classic Spanish-language films that are intended for U.S. distribution via cable and satellite. Once the films are scanned to digital, and restored, they are sent to me for color correction. To date, I have worked on scores of films and each one presents its own unique set of challenges.</p>
<p>A case in point is this film, La Escondida, a 1956 film directed by Roberto Gavaldón from the golden age of Mexican Cinema. It is a beautiful story told on a epic scale. </p>
<p>One of the curious things about this film is the way the color reacted once I got it in DaVinci Resolve. In some of the key scenes the master shot had lost its blue sky color, but not in the closeups. The blue sky appearing and disappearing like a blinking light between shot cuts was annoying to see. I suspect that this is not part of the director&#8217;s vision. It was more likely a result of the age and the condition of the film at the time it was scanned.</p>
<p>To solve this issue and give the sequence a uniform look, I did a Luma Key. I also used a linear Power Window around the sky to further limit the key. Click <a href="http://jimwicks.com/wp-content/uploads/2012/04/Luma-Key.jpg" title="Luma Key for La Escondida (1956)">here</a>, to see before and after photos from inside DaVinci. I used an Append Node after the Luma Key to add an overall finish to the scene.</p>
]]></content:encoded>
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		<item>
		<title>DaVinci Resolve Training</title>
		<link>http://www.jimwicks.com/news/davinci-resolve-training-membership/</link>
		<comments>http://www.jimwicks.com/news/davinci-resolve-training-membership/#comments</comments>
		<pubDate>Thu, 12 Apr 2012 22:38:33 +0000</pubDate>
		<dc:creator>James</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[James Wicks]]></category>
		<category><![CDATA[Senior Colorist]]></category>

		<guid isPermaLink="false">http://www.jimwicks.com/?p=3952</guid>
		<description><![CDATA[If you want to be a Colorist, there are a number of opportunities for you to learn about color correction and color grading. First, I recommend that you check out the International Colorist Academy, which runs 2 and 3 day workshops that you can attend. The ICA is an international group founded by Colorists for [...]]]></description>
			<content:encoded><![CDATA[<p>If you want to be a Colorist, there are a number of opportunities for you to learn about color correction and color grading.</p>
<p>First, I recommend that you check out the <a href="http://icolorist.com/" title="International Colorist Academy">International Colorist Academy</a>, which runs 2 and 3 day workshops that you can attend. The ICA is an international group founded by Colorists for Colorists. All the training you receive is hands-on, taught by industry-respected professionals.</p>
<p>Warren Eagles, ICA co-founder, has an online video series that you can purchase and download called, <a href="http://www.fxphd.com/news/fxphd-fastforward-resolve-fundamentals/" title="Resolve Fundamentals">Resolve Fundamentals</a>. This is an excellent introduction and overview to Resolve specifically, and to color correction in general. This is a very good video reference series that you can keep on your laptop or iPad, to have with you at all times.</p>
<p>Next, I highly recommend Patrick Inhofer&#8217;s excellent tutorial series, <a href="http://www.taoofcolor.com/" title="Tao of Color">Tao of Color</a>. Patrick is a respected New York-based Colorist with numerous credits. He has 2 series: one for DaVinci Resolve, the other for Apple Color. Patrick has done a great job of designing both tutorial series to be functional, hands-on, and great tools to learning the software and learning the trade. In particular, you will go in-depth on Resolve and understand the software like no other. </p>
<p>Colorist and Author, Alexis Van Hurkman, is the new kid on the block with his tutorials available from <a href="http://www.rippletraining.com/categories/avid-adobe-davinci-courses/davinci-resolove-products/davinci-resolve.html" title="Ripple Training DaVinci Resolve">Ripple Training</a>. The training series is decently priced, and is available for download from iTunes. Alexis does a very good job of guiding you through the UI, and gives you decent examples of what each of the toolsets can do for you. Alexis is the author of the <a href="http://www.amazon.com/Color-Correction-Handbook-Professional-Techniques/dp/0321713117/ref=sr_1_1?s=books&#038;ie=UTF8&#038;qid=1334829734&#038;sr=1-1" title="Color Correction Handbook">Color Correction Handbook</a>, which is considered to be the bible for Colorists.</p>
<p>Finally, Colorist Denver Riddle has an online DaVinci Resolve tutorial series at his website, <a href="http://www.colorgradingcentral.com/" title="Color Grading Central">Color Grading Central</a>. Denver is a working colorist, and his website is an excellent resource that is chock full of useful tutorials and information for colorists. </p>
<p>It&#8217;s important to start your journey as a Colorist with the best training that you can get. In my opinion, these represent some of the best training opportunities available to get you on your way.</p>
<p>Best, J</p>
]]></content:encoded>
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		<title>The Master Touch</title>
		<link>http://www.jimwicks.com/news/the-master-touch/</link>
		<comments>http://www.jimwicks.com/news/the-master-touch/#comments</comments>
		<pubDate>Mon, 09 Apr 2012 23:36:33 +0000</pubDate>
		<dc:creator>James</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[Jack Tunnicliffe]]></category>
		<category><![CDATA[James Wicks]]></category>
		<category><![CDATA[Senior Colorist]]></category>

		<guid isPermaLink="false">http://www.jimwicks.com/?p=3908</guid>
		<description><![CDATA[Colorist Jack Tunnicliffe is the man who taught me about color correction. I consider him to be my mentor, and a close friend. Jack is an internationally respected Colorist, with a number of popular television shows, movies, and commercials to his credit, He has assembled a great team, and they have built his company, Java [...]]]></description>
			<content:encoded><![CDATA[<p>Colorist Jack Tunnicliffe is the man who taught me about color correction. I consider him to be my mentor, and a close friend. Jack is an internationally respected Colorist, with a number of popular television shows, movies, and commercials to his credit, </p>
<p>He has assembled a great team, and they have built his company, <a href="http://www.javapost.ca/" title="Java Post Production">Java Post Productions</a>, into the best post house in Western Canada.</p>
<p>Click <a href="http://vimeo.com/39853967" title="Conexus TV Commercial">here</a> to view a recent commercial that Jack color graded. You can see the Before and After photos <a href="http://jimwicks.com/wp-content/uploads/2012/04/Conexus-Before-and-After.jpg" title="Conexus Before and After">here</a>. </p>
<p>Jack color grades on DaVinci Resolve. </p>
<p>Every colorist has their own unique style, or finger print if you will, that sets them apart from the rest. I suggest you study the Before and Afters. You, too, can learn from the master touch.</p>
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		<item>
		<title>JS Foundation 2012</title>
		<link>http://www.jimwicks.com/production/tv-commercials/js-foundation-2012/</link>
		<comments>http://www.jimwicks.com/production/tv-commercials/js-foundation-2012/#comments</comments>
		<pubDate>Thu, 05 Apr 2012 22:50:29 +0000</pubDate>
		<dc:creator>James</dc:creator>
				<category><![CDATA[Commercials]]></category>
		<category><![CDATA[James Wicks]]></category>
		<category><![CDATA[Producer]]></category>
		<category><![CDATA[Senior Colorist]]></category>

		<guid isPermaLink="false">http://www.jimwicks.com/?p=3884</guid>
		<description><![CDATA[Another new commercial that I produced is on the air in Cincinnati. This was another fun project to work on. My client couldn&#8217;t get into the studio to cut a new commercial, so I was asked to freshen up the previous one I produced in 2011. I saw some opportunities to make changes, and add [...]]]></description>
			<content:encoded><![CDATA[<p>Another new commercial that I produced is on the air in Cincinnati. This was another fun project to work on. My client couldn&#8217;t get into the studio to cut a new commercial, so I was asked to freshen up the previous one I produced in 2011.<br />
I saw some opportunities to make changes, and add energy to the spot. The first thing I did was to put the original video, which was shot widescreen SD, in DaVinci Resolve. After that, I played around with some animation ideas. The whole spot came together in a little more than 2 days.</p>
<p><iframe src="http://player.vimeo.com/video/39858119?title=0&amp;byline=0&amp;portrait=0&amp;autoplay=0" width="640" height="360" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
<p><b>Credits: Senior Colorist, Producer, Motion Graphics.<b></p>
]]></content:encoded>
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		<item>
		<title>Eyes and Ears</title>
		<link>http://www.jimwicks.com/news/eyes-and-ears/</link>
		<comments>http://www.jimwicks.com/news/eyes-and-ears/#comments</comments>
		<pubDate>Sun, 01 Apr 2012 19:30:05 +0000</pubDate>
		<dc:creator>James</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[James Wicks]]></category>
		<category><![CDATA[Senior Colorist]]></category>

		<guid isPermaLink="false">http://www.jimwicks.com/?p=3857</guid>
		<description><![CDATA[A Producer friend of mine asked me to look at a video project he was involved with, and give him an honest critique of the color correction and grading that had been done for him. I saw at least a dozen easy fixes. All of them, I pointed out, were &#8216;missed opportunities&#8217; to make the [...]]]></description>
			<content:encoded><![CDATA[<p>A Producer friend of mine asked me to look at a video project he was involved with, and give him an honest critique of the color correction and grading that had been done for him. I saw at least a dozen easy fixes. All of them, I pointed out, were &#8216;missed opportunities&#8217; to make the project better.</p>
<p>Respected New York-based Colorist Patrick Inhofer has, what I believe, should be the mission statement of every Colorist clearly printed on the front page of his <a href="http://www.fini.tv/" title="Fini">website</a>: Color grading and color correction elicit emotions …and emotions connect you to your audience.</p>
<p>The Colorist that you hire should grade for emotion. One of the keys to successfully doing this, is that the Colorist should <i>listen</i> to what the client wants.</p>
<p>My Producer friend said the reason that he asked me to pick his project apart was simple: he knew that I would, honestly. The critique I provided confirmed for him what he already knew: he hired the &#8216;best grader&#8217; in his city, but didn&#8217;t get the best result because the Colorist didn&#8217;t <i>listen</i> to the client.</p>
<p>Jet Omoshebi, a well thought of Colorist at Deluxe London, helps drives this point home. She says, &#8216;<a href="http://www.definitionmagazine.com/journal/2012/3/26/grading-great-expectations.html" title="Jet Omoshebi">a close relationship with your Colorist is a good thing to have.</a>&#8216;</p>
<p>I agree with Jet, and would take it one step further. I suggest making your Colorist part of the preproduction workflow, to help make your project better. The sooner we begin working with your DP to help achieve the look you are after, the better your project will be.</p>
<p>Creating a look the Producer wants takes eyes and ears. Like Barbara Walters once told me, &#8220;you should listen twice as much.&#8221; Following that simple advice will go a long way to making your client feel satisfied about their project …<i>and about their decision to hire you</i>.</p>
<p>Just sayin&#8217;<br />
Best, J</p>
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		<title>Lights, Camera &#8230;Action?? Not so much.</title>
		<link>http://www.jimwicks.com/news/lights-camera-action/</link>
		<comments>http://www.jimwicks.com/news/lights-camera-action/#comments</comments>
		<pubDate>Mon, 26 Mar 2012 18:09:17 +0000</pubDate>
		<dc:creator>James</dc:creator>
				<category><![CDATA[Blog]]></category>

		<guid isPermaLink="false">http://www.jimwicks.com/?p=3850</guid>
		<description><![CDATA[I&#8217;m not political, but this stinks. A province in western Canada has killed off the Film Tax Credit. In so doing, the provincial government has effectively killed off the multi-million dollar a year motion picture film and television industry. The action will force businesses to close, and layoff scores of talented people. And the reason [...]]]></description>
			<content:encoded><![CDATA[<p>I&#8217;m not political, but this stinks.<br />
A province in western Canada has killed off the Film Tax Credit.<br />
In so doing, the provincial government has effectively killed off the multi-million dollar a year motion picture film and television industry.<br />
The action will force businesses to close, and layoff scores of talented people.<br />
And the reason the government did it: to balance the budget.<br />
When the goal of a government causes this kind of collateral damage, it&#8217;s just plain wrong.<br />
An attack on one is an attack on all. If it could happen there, it could happen where you live.<br />
There are 2 ways you can help our brothers and sisters out: click <a href="http://www.petitionhosting.com/petitions/www.savethesfetc.com" title="Save the Saskatchewan Film Employment Tax Credit">here</a> to sign their petition demanding the Film Tax Credit be re-instated.<br />
Or, you can click <a href="http://www.facebook.com/SaveTheSFETC" title="Save the Saskatchewan Film Employment Tax Credit">here</a> to sign their petition on Facebook.<br />
Two options, same goal: to help save Saskatchewan&#8217;s Film industry.</p>
]]></content:encoded>
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		<title>Before &amp; After: La Escondida (1956) Reel 1</title>
		<link>http://www.jimwicks.com/color-grading/before-after-la-escondida-1956-reel-1/</link>
		<comments>http://www.jimwicks.com/color-grading/before-after-la-escondida-1956-reel-1/#comments</comments>
		<pubDate>Sat, 17 Mar 2012 19:27:45 +0000</pubDate>
		<dc:creator>James</dc:creator>
				<category><![CDATA[Color Grading]]></category>
		<category><![CDATA[Golden Age of Mexican Cinema]]></category>
		<category><![CDATA[James Wicks]]></category>
		<category><![CDATA[La Escondida]]></category>
		<category><![CDATA[Senior Colorist]]></category>

		<guid isPermaLink="false">http://www.jimwicks.com/?p=3249</guid>
		<description><![CDATA[This movie is considered to be a classic from the Golden Era of Mexican Cinema. On the left: the color in the 35mm 2K .dpx film scan was heavily damaged, due to its age. On the right: the color after I restored it to its original luster using DaVinci Resolve. This video is a scene [...]]]></description>
			<content:encoded><![CDATA[<p>This movie is considered to be a classic from the <a href="http://en.wikipedia.org/wiki/Golden_Age_of_Mexican_cinema" title="Golden Era of Mexican Cinema">Golden Era of Mexican Cinema</a>.<br />
On the left: the color in the 35mm 2K .dpx film scan was heavily damaged, due to its age.<br />
On the right: the color after I restored it to its original luster using DaVinci Resolve.<br />
This video is a scene from reel 4 of La Escondida (1956). Directed by:  Roberto Gavaldón.</p>
<p><iframe src="http://player.vimeo.com/video/38689499?title=0&amp;byline=0&amp;portrait=0&amp;autoplay=0" width="960" height="534" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
<p><b>Credits: Senior Colorist, DaVinci Resolve<b></p>
]]></content:encoded>
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		<item>
		<title>Before and After Videos: La Escondida (1956)</title>
		<link>http://www.jimwicks.com/news/before-and-after-la-escondida-1956/</link>
		<comments>http://www.jimwicks.com/news/before-and-after-la-escondida-1956/#comments</comments>
		<pubDate>Tue, 20 Mar 2012 11:37:54 +0000</pubDate>
		<dc:creator>James</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[Golden Age of Mexican Cinema]]></category>
		<category><![CDATA[James Wicks]]></category>
		<category><![CDATA[Senior Colorist]]></category>

		<guid isPermaLink="false">http://www.jimwicks.com/?p=3278</guid>
		<description><![CDATA[I have posted 3 new before and after videos for you to watch. I am Senior Colorist on a massive project to color correct hundreds of classic films from the Golden Age of Mexican Cinema. The 35mm and 16mm films are scanned to 2K .dpx film scans, loaded on to LTOs and sent to me [...]]]></description>
			<content:encoded><![CDATA[<p>I have posted 3 new before and after videos for you to watch.</p>
<p>I am Senior Colorist on a massive project to color correct hundreds of classic films from the Golden Age of Mexican Cinema.<br />
The 35mm and 16mm films are scanned to 2K .dpx film scans, loaded on to LTOs and sent to me for color correction.</p>
<p>Time has not been kind to these classics, and the color is washed out and faded from the prints.<br />
I can tell that by looking at them in my DaVinci Resolve color suite. My grading monitor and scopes don&#8217;t lie.<br />
It takes quite a bit of work to pull the colors back, but the before and after results are simply amazing.</p>
<p>You can watch all the before and after videos, including the newest ones, <a href="http://www.jimwicks.com/category/color-grading/" title="Before and After Videos">here</a>.</p>
<p>Peace. J</p>
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		<item>
		<title>Why I Love being a Senior Colorist</title>
		<link>http://www.jimwicks.com/news/why-i-love-being-a-senior-colorist/</link>
		<comments>http://www.jimwicks.com/news/why-i-love-being-a-senior-colorist/#comments</comments>
		<pubDate>Tue, 13 Mar 2012 18:39:25 +0000</pubDate>
		<dc:creator>James</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[James Wicks]]></category>
		<category><![CDATA[Senior Colorist]]></category>

		<guid isPermaLink="false">http://www.jimwicks.com/?p=3229</guid>
		<description><![CDATA[&#8220;Thank you so much for putting all your love and dedication into the coloring and restoration of my family&#8217;s film library. You&#8217;re awesome and have done a phenomenal job!!&#8221; That is an email that I received today from the owner of a film library that I am color restoring. I am Senior Colorist on a [...]]]></description>
			<content:encoded><![CDATA[<p>&#8220;Thank you so much for putting all your love and dedication into the coloring and restoration of my family&#8217;s film library. You&#8217;re awesome and have done a phenomenal job!!&#8221;</p>
<p>That is an email that I received today from the owner of a film library that I am color restoring. I am Senior Colorist on a massive project: color correcting and restoring the color to classic Spanish-language films destined for U.S. distribution via cable and satellite. I&#8217;m working on 35mm 2K .dpx film scans using DaVinci Resolve. The RGB Mixer comes in real handy on this project.</p>
<p>Time has not been kind to the colors, which are washed out. In many cases the films were made in the 1940s, the youngest of the films were made in the 1980s. All the films need lots of color love to bring them back to life again. Click <a href="http://www.jimwicks.com/category/color-grading/" title="Color Grading: Before and Afters">here</a> to see before and after videos and photos from some of the films.</p>
<p>It is a fun project, and a labor of love restoring the color. Until yesterday I had no idea the impact of what I am doing, especially on one family who&#8217;s father had produced quite a number of the movies.</p>
<p>Yesterday, the producer&#8217;s son stopped by my color suite to see the results from my work. His reaction stunned me. He nearly had tears of joy in his eyes seeing his father&#8217;s films come back to life again after all this time. He was flooded with many memories, and he regaled me with behind the scenes stories. </p>
<p>Accompanying the producer&#8217;s son was the producer&#8217;s grandson. Today I received an email from the grandson: &#8221; We love that you have such a passion and dedication for this work. Thank you again and congrats on your excellent work.&#8221;</p>
<p>Every picture tells a story, this is mine.</p>
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		<title>Before &amp; After: La Escondida (1956) Reel 2</title>
		<link>http://www.jimwicks.com/color-grading/before-after-la-escondida-1956-reel-2/</link>
		<comments>http://www.jimwicks.com/color-grading/before-after-la-escondida-1956-reel-2/#comments</comments>
		<pubDate>Sat, 17 Mar 2012 19:23:20 +0000</pubDate>
		<dc:creator>James</dc:creator>
				<category><![CDATA[Color Grading]]></category>
		<category><![CDATA[Golden Age of Mexican Cinema]]></category>
		<category><![CDATA[James Wicks]]></category>
		<category><![CDATA[La Escondida]]></category>
		<category><![CDATA[Senior Colorist]]></category>

		<guid isPermaLink="false">http://www.jimwicks.com/?p=3244</guid>
		<description><![CDATA[This is a scene reminiscent of scenes from Gone with the Wind. &#8220;La Escondida&#8221; is a 1956 film considered to be a classic from the Golden Era of Mexican Cinema. On the left: the color in the 35mm 2K .dpx film scan was heavily damaged, due to its age. On the right: the color after [...]]]></description>
			<content:encoded><![CDATA[<p>This is a scene reminiscent of scenes from Gone with the Wind. &#8220;La Escondida&#8221; is a 1956 film considered to be a classic from the <a href="http://en.wikipedia.org/wiki/Golden_Age_of_Mexican_cinema" title="Golden Era of Mexican Cinema">Golden Era of Mexican Cinema</a>.<br />
On the left: the color in the 35mm 2K .dpx film scan was heavily damaged, due to its age.<br />
On the right: the color after I restored it to its original luster using DaVinci Resolve.<br />
This video is a scene from reel 4 of La Escondida (1956). Directed by:  Roberto Gavaldón.</p>
<p><iframe src="http://player.vimeo.com/video/38689581?title=0&amp;byline=0&amp;portrait=0&amp;autoplay=0" width="960" height="534" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
<p><b>Credits: Senior Colorist, DaVinci Resolve<b></p>
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