The Color Code

David Tomiak went from breaking both his arms in a bicycle accident and leaving behind cinematography to grading A24 features with A-list talent. In this episode, David shares with us the 5 rules that took him from freelancing in a 100 square foot room to being founder of Elemental Post.
From how he almost quit the industry entirely after starting his first color business, to building one of Vancouver's most respected post houses, David opens up about the real cost of starting your own color grading company — the loneliness, the ignorance tax, and why compromising your standards means you should "just go work for someone else".
Check out my look dev plugin Contour (which David used to build the look for the A24 film "Eternity"): http://cullenkellycolor.com/contour
Download Referent, my free viewing transform: https://cullenkellycolor.com/toolkit/referent

Today you get a chance to learn with a 2x Oscar-winning film chemist who spent nearly 30 years working at Kodak. He's the co-creator of Genesis, the man behind the Joker LUT, and the person who built the Kodak Look Management System - basically the first film emulation out there (so good, Kodak's "jaws dropped").
It's a very special treat to further introduce you to Dr. Mitch Bogdanowicz, who's about to share some important grading and filmmaking lessons from his 50 year career in the business. We'll also be revealing the process behind how we built our film emulation plugin Genesis.
Also, Mitch's knowledge goes far beyond just film chemistry. After working in the film business for nearly 50 years (and nabbing two Academy Awards along the way), he’s an incredible problem-solver and collaborator – skills he's passed along to his three kids, who all have done major work in Hollywood and film.
Mitch also covers:
Why finding the perfect LUT won't make your job easier — and what you need to do instead
The thing most colorists try to do that works against getting great filmic images
Why only focusing on color is "career suicide"
How to be a stand-out collaborator instead of an order-taker
The right process for problem-solving in a grade
Why recording out to film for "the film look" is mostly a waste of money

Want to understand what makes film the gold standard in high-end grading — and get those aesthetics in your own work using tools you already have? Grab a seat for this free webinar (limited spots): https://us02web.zoom.us/webinar/register/5417725689482/WN_IF6s_rdYQTu4yizr7zNWRg

I'm speaking with Corinne Bogdanowicz, Hollywood colorist for projects
like Our Flag Means Death, Reservation Dogs and more. Hear about
Corinne's start in the industry "dust busting" and how she grew her
client skills and coloring skills into a professional practice.

I'm speaking with Siggy Ferstl, Senior Colorist at Company 3 and
colorist of Wednesday, The Boys, Narcos, Lost in Space and more. Hear
about Siggy's long journey in the industry and how he continues to
innovate.
This episode is brought to you by Portrait Displays http://www.portrait.com

Our guest Joseph Slomka, principle color scientists for movies like
Batman, Dune, Oppenheimer and more talks with me about workflows and
deep dives into color science.