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
The iPad gains another NLE with the release of Avid Studio for iOS. Avid’s new app sells for $4.99, competing against iMovie’s $4.99 price tag. After 30 days the app returns to it’s full price of $7.99. The app itself looks pretty simple, yet that might be the ticket for quickly editing and uploading something you shot with your iPad.
I’m fairly shocked to see Avid go down this road. Avid usually aims to be the “pro” app. So seeing them enter the “prosumer” realm is quite the eye opener.
Check out Avid Studio in the iOS app store for more info.
Today Apple released Garage Band and iMovie for the latest iOS. For $5 each, you can have a mobile video and audio editing software. I know both are meant for editing quick projects captured on iPhones and iPads, by I’m still not certain of the appeal. My iPad experiences been a few hours at most, but touch screen editing sounds a bit tough. Maybe I’m old fashioned. Maybe I’m too used to the conventional mouse and keyboard. But the limited space and lack of really being able to capture things from outside of your project would be alarming to me.
I’m of the belief that tablets are here to stay and will continue to grow in prominence. I have family members who live by their iPads. At the same time though, I have doubts that pro editing will ever move into that realm.
…now with that said, I’ll be completely wrong and 20 years from everyone will be editing with their tablets. We’ll see. I think the take home in all of this is how exciting things are right now for consumer electronics. More and more people are getting their hands on software that 10 or 20 years ago we’re expensive and difficult to use.