![]() ![]() In early 2022 I had a chance to catch up with Tashi, and he delivered some big news: Director James Cameron and Lightstorm Entertainment had selected him as the DI colorist for the long-gestating sequel to one of the highest-grossing films of all time: Avatar: The Way of Water. ![]() He’s pushed pixels at Technicolor, EFILM, and Company 3, assisting colorists like Steve Scott, Mike Sowa, Tony Dustin, and Skip Kimball. As a DI editor & color assist he’s worked on some of the biggest titles and franchises in the industry, including the Marvel Cinematic Universe, Star Wars, Stranger Things, Ford vs. Since then we’ve stayed in touch, and I’ve watched Tashi’s developing career with great interest. As we talked he mentioned that he’d already started working at a post facility in LA. He was finishing one of his thesis films, shot on 35mm, which he’d scanned on the school’s Spirit 4K film scanner and was grading in Autodesk Lustre. I first visited Tashi at Chapman University right as he was preparing to graduate. If you’re interested in film and imaging technology history, check out this video series as Wyndham relates the stories behind his remarkable collection of vintage equipment. Side note: Wyndham Hannaway is one of the world’s foremost experts on the restoration & recovery of media from legacy optical and tape formats. A friend of Tashi’s father, motion graphic artist Terry Trieu, Wyndham mentioned that Tashi and I shared a lot of interests in color grading and image workflows, and suggested that we should meet. We were introduced by a mutual mentor, Wyndham Hannaway of GW Hannaway & Associates in Boulder Colorado, an image scientist and VFX veteran involved in pioneering work on films like the original Star Trek: The Motion Picture (1979). I’ve known Tashi Trieu for a number of years, since he was in his final year at Dodge College of Film & Media Arts at Chapman University in Orange, California. ![]()
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