Colorist Needed - Feature

Cracker Funk

Cracker Funk

"Antihero" is an ultra-low-budget 84-minute feature, shot on the T2i, with a two-person crew. The first edit is complete, and I'm seeking somebody who really knows their way around coloring.

Compensation is credit-only. Of course I can't literally promise which festivals we'll get into, or if we'll get listed on IMDB. However, I like this movie, and I feel very confident that we will get into a good number of festivals, and we will most definitely gain IMDB listing. So, that's your compensation -- colorist credit for a feature on IMDB.

Also, I'm loyal. Should we be successful and gain actual funding for the next feature, those who helped on this one will be remembered.

You would not have access to the entire movie. I'm sorry, I just can't trust sending this thing out over the internet (or via mail) to someone I've never met. So how would this work?

I'll send you stills from every single shot in the movie. You color-grade the stills, and send them back to me, with instructions on what was done to each shot. Yes, I know this is weird. But that's the deal. Also, that means you'll have to work the software that I am using (Premiere CS5, After Effects CS5, with Magic Bullet). If you're intersted, terrific! I'd love to hear from you. Please PM me on Indietalk.
 
I'm too busy right now, but one thing I can do is to suggest that you don't do it the way that you have planned.

To colour is like to edit. You don't give an editor just part of what you shot, you give them the lot. Same goes for a colourist. Factors change throughout a shot. A colourist needs to be able to not just make the image look nicer, they also need to colour match one shot to the following shot of the same location. That's the way that you will get the absolute most out of a colourist.

I understand that it is hard to trust people. One thing you could do is send the footage in increments. For example, the first 20mins of your movie might have 3 locations: warehouse int, cemetery ext, and police station int. So you give your colourist the edited footage of the cemetery, then the warehouse, then the police station, and so on and so on. That way they're giving them the footage, but not the whole movie in it's organised form.

And make sure that your work is copyrighted before sending it to anyone, that'll help protect you. Also since you'll be getting them to sign a contract for their work anyway, you should also get them to sign a confidentiality contract.

Hope this makes sense, wish you luck with your project.
 
Also, you could just give your colorist the video, but no sound. I can't imagine trying to color-correct a movie just by working on stills from each shot, and a movie with no sound isn't exactly stealable.
 
I wouldn't consider coloring a film with just stills as there's alot of tracking involved and moving mattes and vignettes. I wouldn't want my name on that credit - sorry.
 
knightly said:
I wouldn't consider coloring a film with just stills as there's alot of tracking involved and moving mattes and vignettes. I wouldn't want my name on that credit - sorry.
Click to expand...

Yep, the other two have made it clear to me that that was a bad idea. Not being anything of a colorist myself, I just didn't realize or even imagine that stills would be an issue. That part of the offer is rescinded. Any potential colorist can see the movie. I'm glad I posted it here first, so I could get some feedback. I'm posting on craigslist tomorrow, so thanks for sharing your thoughts, guys.
 
A typical non-disclosure form should cover you legally though :) I've signed tons of them while I was a network admin... typical industry practice.
 
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