Real-Life Decision Making
One trait shared by almost all successful telecine colorists is a high
standard of quality in their work. The video transfer project may only last
a week, but the final product will be shown on TV or to other audiences for
months or even years to come.
Since so many colorists work as freelancers or consultants, they often
have many bosses in a short time period. Some colorists say that not all producers
adhere to the same high standards.
"Decisions have to be made fast, and you're the one having to make
most of them," says colorist Tim Gatena. "You consult with the set constantly,
but most of the time you work alone. So you're making judgment calls
all day long."
Let's imagine you are a colorist with three years of experience. You've
just won a contract to do the coloring for four film-to-video transfers. The
movies are old science-fiction thrillers. Old so-called "B" movies, the films
are cult classics to some people. Regardless of their quality, though, you
know you want to make the best transfers you can.
So you are a little disappointed when you arrive at the video transfer
studio to begin the work and find an out-of-date workstation. It will do the
job, but not the best job.
On the second day of work, you face an even more difficult problem. The
head producer comes into the video lab and tells you that the production schedule
has been moved up by two weeks. He says he needs all four videos completed
within four days.
You had planned on spending up to five days per film, you explain -- one
film a day would be an almost impossible pace to keep. "Just cut corners,"
the producer says.
He leaves and before you turn back to your work, you realize you have to
make a decision.
What do you do?