CineCast: The Double-Edged Sword of Savvier Clients & Media Expectations

 

We welcomed back Alex Parnell, president of Splitting Lanes Entertainment, for episode two of our three-part series of CineCast: A Cinedeck Podcast. On episode one, we got to know Parnell as a creative in the industry of media, film, and television, how he got into the field and what gets him excited for work each morning. On this episode, we explored what a day on the job looks like for Parnell, and listened to personal stories of tricky clients and challenging workflows.

“People are definitely more educated on color science,” Parnell said, explaining how a more informed client can make his job easier. But it is a double-edged sword.

With colorist software like DaVinci Resolve being free and relatively user-friendly, higher-ups think they can do the job of colorist. The reality couldn’t be further from the truth. With different clips and quality, particularly in reality television, a keen eye is needed to blend media.

Colorists and editors work with a variety of programs like Premiere, Resolve, Avid, Cinedeck and more. As files get passed between programs, dozens of different files are created, often forcing colorists to manually transcode, creating hours of extra work. But Alex revealed a trade secret.

“The file-based delivery…is very efficient if you used something like a Cinedeck or cineX insert,” he said.

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