ColorCorrection.com has launched an innovative new web-based service to provide professional color correction services to independent film productions.
“ColorCorrection.com was born out of frustration,” said Ryan Byrne, company founder and CEO. “Simply put, we felt that this part of the post industry wasn’t set up in a way that allowed every indie filmmaker the opportunity to access professional color correction.” Byrne also pointed out that, if a filmmaker doesn’t reside in a filmmaking center, access to quality color correction service is extremely limited.
ColorCorrection.com enables filmmakers to upload a still image from their project on and then receive back a set of color-corrected looks to choose from. They can refine and rework those options until they are satisfied. “It’s our way of helping filmmakers see how great their film can look without having to shell out any money or get locked into a commitment before seeing what we can do,” explained Martin Roe, co-founder and head of operations.
Once filmmakers have established their key look, ColorCorrection.com mails a hard drive to collect a copy of the filmmaker’s media files, or gives them direct upload access. Communication is managed on the web every step of the way, allowing filmmakers to remotely communicate with a colorist who might not be geographically in the same area. Utilizing DaVinci Resolve and Apple Color, ColorCorrection.com will implement the grade until it is locked and then mail the material back.
“Filmmakers are just charged a simple per-minute-of-footage rate to implement their look,” said Roe. “This approach to pricing also has the added advantage of allowing filmmakers to get a much clearer idea of their color correction costs up-front.”
“That way, you don’t pay extra when a colorist is having a bad day or because you don’t quite know how to describe what you want,” added co-founder and chief colorist Charles Haine. “Not every filmmaker knows their way around a color studio. So a lot of time is often spent just helping people learn how to talk about color so they know what to ask for. And when you’re paying $200-$300 an hour, it’s understandably, a frustrating experience for the client.”
“When I was directing my first feature film, I quickly learned that there was a lack of a clear structured approach to help filmmakers like myself feel artistically in control during the color grading process,” said Byrne. “I didn’t feel like I was able to work with a colorist in a way that made me feel like my artistic vision was really being translated into the look and feel of my film. And the high hourly rates they were charging certainly didn’t help things either. ColorCorrection.com changes all that in favor of the filmmaker.”
“But what’s most important is that we are a company of filmmakers, not just a company of colorists and we believe that’s something filmmakers need,” he added.