Sep 1, 2026 · 1 hr 4 min · 16 segments
In this episode we're discussing a question we got from viewer/listener Matt S. who in part wrote: 'I’d love to hear your thoughts on working with GFX and VFX through color. I run a motion design…
Robbie CarmanHost
Joey D'AnnaHost
Why don't you kind of just outline kind of the basics of his question, and then we'll dive in.
He said that he'd love to hear our thoughts on working with graphics and VFX through color.
Sometimes it's heavily graded, sometimes it's color managed one way, sometimes it's color managed another.
both curiosity and somewhat frustration, because as an artist, if you send something out to another artist to work with, you don't expect it to be dramatically changed, or maybe you do, but there's a communication that has to happen there.
So I think part of this is really getting the colorist perspective on how we deal with external graphics and VFX
it is a deep topic and you're right there's definitely an under a wtf undercurrent uh in the question and honestly uh
you know from and i think that's perfectly valid matt you know totally i have seen a lot of times and we'll talk about this in a little bit more detail how graphics and VFX can have their creative intent stepped on by a miscommunication, an overzealous colorist, or some other kind of problem in the pipeline.
And that's exactly what the kind of workflows we want to talk about are designed to prevent.
and I would say also just to not make it like sound like we're about to, you know, uh, whatever, say it's all Matt's fault for doing ever.
Like there are plenty of colorists in the world who don't do, and we'll get into this obviously, but don't ask the right questions.
Now that's not to say that there's not responsibility on both sides of it, but just to sort of, you know, address Matt's general concern is, is that this is a problem from both sides of the equation, right? And it is something that if you've been working in the color game long enough, you've probably screwed up and encountered frustrating situations.
You probably thought you're delivering something that's perfect only to see it get messed up and that's frustrating.
Why don't you kind of just outline kind of the basics of his question, and then we'll dive in.
He said that he'd love to hear our thoughts on working with graphics and VFX through color.
Sometimes it's heavily graded, sometimes it's color managed one way, sometimes it's color managed another.
both curiosity and somewhat frustration, because as an artist, if you send something out to another artist to work with, you don't expect it to be dramatically changed, or maybe you do, but there's a communication that has to happen there.
So I think part of this is really getting the colorist perspective on how we deal with external graphics and VFX
it is a deep topic and you're right there's definitely an under a wtf undercurrent uh in the question and honestly uh
you know from and i think that's perfectly valid matt you know totally i have seen a lot of times and we'll talk about this in a little bit more detail how graphics and VFX can have their creative intent stepped on by a miscommunication, an overzealous colorist, or some other kind of problem in the pipeline.
And that's exactly what the kind of workflows we want to talk about are designed to prevent.
and I would say also just to not make it like sound like we're about to, you know, uh, whatever, say it's all Matt's fault for doing ever.
Like there are plenty of colorists in the world who don't do, and we'll get into this obviously, but don't ask the right questions.
Now that's not to say that there's not responsibility on both sides of it, but just to sort of, you know, address Matt's general concern is, is that this is a problem from both sides of the equation, right? And it is something that if you've been working in the color game long enough, you've probably screwed up and encountered frustrating situations.
You probably thought you're delivering something that's perfect only to see it get messed up and that's frustrating.
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