Although our budget was minuscule, he took on the project as a labor of love and treated us as though we were his high-end clients. He wanted everything to be as good as it could be, and that's exactly what we got. He's a dream to work with. There's no drama with Chris, no attitude. Just a great cup of tea and a warm personality.
I was looking for an editor for my documentary feature film and found in Chris Layhe more than I knew I needed, wanted or thought possible. Chris was a calm in the storm that is documentary filmmaking, and made this dream project of my lifetime better and more successful than I could ever have imagined.
As the droll comedian Steven Wright says, “You can’t have it all…where would you put it?” Yet, we Cinematographers generally do want it all, higher resolutions, higher frame rates, higher dynamic range and more color space. But the question of storage, (or where to put it?) is only one of the myriad of considerations.
it was commonly accepted in parts of the business and marketing communities that it was better to have video material out there in bulk just to be seen, today's viewers have become sufficiently sophisticated that low budget mass video now has a significant negative effect on a brand.
The Colorist Society International is the body that represents the interest of feature film colorists around the world (I'm an elected member) and is our equivalent of the DGA, ASC or ACE... we just have a much sillier acronym in CSI! Anyway, the powers that be recently released a one page description of what it is that we do and how and when we do it that might shed a little light on the role for those that are interested or should know already.