Shane Mario Ruggieri's guest appearances

Shane Mario Ruggieri

Colorist Podcast

The T Stop Inn

Peter James

Mark Todd

Matthew Allard

Greig Fraser

Mandy Walker

Checco Varese

Tom Gleeson

Vanessa Taylor

John Seale

Rob Bessette

Kevin Shaw

Gray Marshall

Steve Arnold

Fabian Wagner

Peter Doyle

OwlTail

Shane Mario Ruggieri is the in house colorist at Dolby Laboratories in California.  He's one of the world's most knowledgable people on the subject of High Dynamic Range.  Shane speaks passionately about the technology and its creative potential.

Shane Mario Ruggieri is the in house colorist at Dolby Laboratories in California.  He's one of the world's most knowledgable people on the subject of High Dynamic Range.  Shane speaks passionately about the technology and its creative potential.

Shane Mario Ruggieri CSI - HDR & New Colors To See

This episode is sponsored by Colorist Society International and Mixinglight.com. Senior Production Engineer and Colorist at Dolby, Shane Mario Ruggieri, CSI, joins me on this episode of the colorist podcast. In San Francisco during the 2000’s, Shane came up through the ranks, working in all aspects of production and post production. From the beginning of Final Cut Pro, and later Apple Color, he cut his teeth on the early stages of color grading on the Mac. He’s colored for features, commercial, corporate, and entertainment industries. His clients have included Apple, Sony, Netflix, Green Day, Carrie Underwood, and Universal Studios.  Now working at Dolby, Shane has specialized and is one of a handful of colorists that has been working with Dolby Vision HDR since 2010. He co-authored “A Perceptual EOTF for Extended Dynamic Range Imager” and authored “Breaking Out of the 100-nit Box: A Colorist’s View of Grading HDR”, which were presented at SMPTE. In this podcast, we talk about:  How starting with SDR prepared him for working with HDR Working with Dolby Vision in Resolve Comparing HDR10 and Dolby Vision Grading tools in HDR and how they will change in the future Advantages of working with HDR as a starting point Workflow considerations for working with HDR versus SDR Using ACES and color management with HDR How HDR will change art direction, makeup, and lighting on the production side Using HDR subtlety and keeping your work invisible Why images over 1000 nits are more compelling and powerful    Shane Mario Ruggieri, Homepage Email IMDB Language of HDR   This episode is sponsored by: Colorist Society International For more information on how you can become a member, visit, https://coloristsociety.com/Join-the-Colorist-Society   Mixinglight.com Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

This episode is sponsored by Colorist Society International and <a href="http://Mixinglight.com" rel="nofollow" target="_blank">Mixinglight.com</a>. Senior Production Engineer and Colorist at Dolby, Shane Mario Ruggieri, CSI, joins me on this episode of the colorist podcast. In San Francisco during the 2000’s, Shane came up through the ranks, working in all aspects of production and post production. From the beginning of Final Cut Pro, and later Apple Color, he cut his teeth on the early stages of color grading on the Mac. He’s colored for features, commercial, corporate, and entertainment industries. His clients have included Apple, Sony, Netflix, Green Day, Carrie Underwood, and Universal Studios.  Now working at Dolby, Shane has specialized and is one of a handful of colorists that has been working with Dolby Vision HDR since 2010. He co-authored “A Perceptual EOTF for Extended Dynamic Range Imager” and authored “Breaking Out of the 100-nit Box: A Colorist’s View of Grading HDR”, which were presented at SMPTE. In this podcast, we talk about: <ul> <li>How starting with SDR prepared him for working with HDR</li> <li>Working with Dolby Vision in Resolve</li> <li>Comparing HDR10 and Dolby Vision</li> <li>Grading tools in HDR and how they will change in the future</li> <li>Advantages of working with HDR as a starting point</li> <li>Workflow considerations for working with HDR versus SDR</li> <li>Using ACES and color management with HDR</li> <li>How HDR will change art direction, makeup, and lighting on the production side</li> <li>Using HDR subtlety and keeping your work invisible</li> <li>Why images over 1000 nits are more compelling and powerful</li> </ul> <a href="http://shanemario.com" rel="nofollow" target="_blank">Shane Mario Ruggieri, Homepage</a> <a href="mailto:shane@languageofhdr.com">Email</a> <a href="http://www.imdb.com/name/nm1847735/" rel="nofollow" target="_blank">IMDB</a> <a href="http://languageofhdr.com/" rel="nofollow" target="_blank">Language of HDR</a> This episode is sponsored by: Colorist Society International For more information on how you can become a member, visit, <a href="https://coloristsociety.com/Join-the-Colorist-Society" rel="nofollow" target="_blank">https://coloristsociety.com/Join-the-Colorist-Society</a> <a href="http://Mixinglight.com" rel="nofollow" target="_blank">Mixinglight.com</a> Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

Episode 21: Shane Mario Ruggieri, CSI