Duties: The Colorist is a specialist film editor who applies up-to-date knowledge in the fields of creative and technical image manipulation and a sense for current and historic color trends and styles to a film production in order to connect with the storyline. The Colorist’s responsibilities throughout all production phases include:
Preproduction:
Read the script to become familiar with the story/project intentions.
Discuss and create appropriate visual looks together with the director of photography (DOP) and other departments, as required.
Evaluate and discuss test shoots with the DOP and other departments, if required.
Consult on possible workflows regarding the best possible technical and creative finishing.
Create looks for on-set use and, if applicable, directly in camera.
Shooting:
Control quality of all image material.
Color grade dailies (for editorial, web dailies, etc.) in collaboration with the DOP.
Post-production:
Responsible for online conforming: transfer of edit information and linking of required media in grading/finishing system.
Plan final color grading with regards to time and budget limits.
Communicate with post-production and VFX supervisor.
Color grade all required deliverables (e.g., for cinema, TV, Video on Demand) in collaboration with the DOP.
Perform final quality check and sign off together with the DOP.
Involved in client-facing participation in DI suites or color correction facilities, working on color correction and image processing for film or other visual arts.
Minimum Requirements:
Experience: Five (5) years as a Colorist. The experience as a Colorist must include demonstrated experience with the following skills and knowledge, which may have been gained concurrently:
Standard creative methodologies relating to color and depth.
Color theory and science as they relate to creation of a color management pipeline for a consistent visual experience across devices and for maximum creative effect.
Colors and stylistic movements in art, culture and film history.
Photography principles.
Film stocks and sensitometry.
Camera systems: principles, use cases, compatibility.
Optics and lens filters.
Film lab technology and processing.
Parameters for digital intermediate film print creation.
Video technology and signal transmission/processing.
Digital recording technologies (compression, sampling, codecs, file containers).
Display technologies and difference between LCD, LED, mini-LED, OLED as well as color depth 8-bit, and 10-bit.
Display calibration.
Color management systems for Color Spaces.
Noise and grain management.
Image framing and re-framing (pan & scan).
Digital broadcasting requirements and signal constraints.
Workflow of film and TV productions.
Experience with spectroradiometers for display profiling and characterization.
Practical and technical knowledge of LUTs, transforms, and image profiles and how to correctly use them for color pipeline management and creative look development.
Experience with mixing high resolution, RAW and non-raw image color correction from different cameras and color sciences.
Practical and technical knowledge of HDR and SDR delivery workflows from ACES pipelines (HLG or DolbyVision).
Experience with multi-facility file exchange using ACES or OCIO.
Experience with high throughput color correction platforms such as Baselight, Nucoda, Resolve, or Mistika.
Certification/Professional Membership: Colorist Society International – as a full member.
Job details: Full-time position with Alterne, LLC located at 220 S. Ash Street, Sisters, OR 97759.
Send resume to: Jason Fitzgibbon, Alterne, LLC, 34141 Ruby Lantern, Unit B, Dana Point, CA 92629.