While color timing on “Amistad,” Dale Grahn recalls the first time he met Steven Spielberg.
Check out our entire series of Dale Grahn interviews here.
Take a look at Dale Grahn Color for the iPad at dalegrahncolor.com to learn color timing from Dale himself.
Dale Grahn explains how the iconic look of “Saving Private Ryan” came about in a strange manner.
We have an entire series of interviews with Dale based on his work in the film industry. To check out each of those, click here.
To see Dale in action, check out Dale Grahn Color for the iPad at dalegrahncolor.com.
Dale Grahn on color timing “The Ring” by not creating “looks” and focusing instead on what makes things creepy.
To learn more from Dale, check out our app Dale Grahn Color for the iPad at dalegrahncolor.com.
Dale Grahn tells the story of color timing Toy Story for Pixar.
To learn more about our Dale Grahn Color iPad app take a look at dalegrahncolor.com.
“All you need is six buttons,” he said. “We can revolutionize the industry.”
It was a bit hard to believe. Color grading was a highly technical, semi-mysterious science. Power windows, HSL keys, tracking masks, eyedroppers, scopes, giant control surfaces in dark suites – our understanding was that you needed power tools to even play the game. A lot more than six buttons.
Nevertheless, it was difficult to discount what Dale was saying. Dale Grahn was a color timer – the film world antecedent to the digital colorist. And he wasn’t just any color timer – he had crafted the look of Saving Private Ryan, Gladiator, Munich, and hundreds of other films. When Apocalypse Now needed to be re-timed for Apocalypse Now Redux, they went to Dale Grahn. When Steven Spielberg needed a color timer, he went to Dale Grahn.
Dale doesn’t immediately slice up the image and start tweaking it. As a color timer, you don’t have those tools. You have to look at the image as a whole, and work with it on its own terms. It’s an absolutely, fundamentally different way to look at an image. Sometimes, that’s a lot more limiting than working with digital tools. Power windows are handy.
Often, the best way to approach these questions is to get back to basics. With, for instance, just six buttons.
“The goal is to learn how to think color,” Dale had said when we first met. It makes sense to us now.
This is just our first collaboration with Dale – we also have some some very exciting tools for film and video editors in the works. For now, we hope you enjoy Dale Grahn Color for iPad. With the app launched, we finally have time to site down with a hot chocolate and try to figure out why, in that one lesson, Dale added those two points of cyan…
To learn more check out http://www.dalegrahncolor.com
FCPX – Quicktip – Match Color & Vignette from PixelWizard on Vimeo.
Final Cut Pro X’s color tools are really a step up from 6 and 7. One of the coolest things they’ve added is vignette coloring tools. Take a look at PixelWizard’s tutorial covering how all of these tools work.
Thanks to FCP.co for the heads up.
I won’t lie, lately I’ve been on a color correction kick. It’s fascinating how simple footage can become surreal and cinematic with only a few simple steps. Fortunately for me, GeniusDV seems to be in a similar mood and posting some wonderful tutorials on color correction and enhancement. I’ve seen this look all over the place for the last few years. This seems to be a pretty easy method to recreating that feel.I’ve never really messed around with apple color, so this is a completely new experience.
For more info or other fantastic tutorial videos check out GeniusDV.