Is Color Correction Becoming a Barrier to Learning for Media Students?
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Ted Fisher [1]
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[1] Delta State University
Delta State University
Estados Unidos
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- Localización: Diálogos para la investigación en comunicación, educación y tecnologías / coord. por Alfredo Barrales Martínez, Francisco Jesús Ortiz Alvarado; Raquel Espinosa Castañeda (aut.), 2021, ISBN 978-607-99505-1-4, págs. 167-173
- Idioma: inglés
- Enlaces
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Resumen
Learning the basic concepts of “color correction” is an essential task for Media students. For those producing still images or videos, this knowledge allows a new and expanded set of possibilities for their practice. For those studying the history and theory of media, it offers a set of tools for understanding and analysis. For those investigating communication techniques, it clarifies the role color and tonality play in visual language. Yet the tools and techniques required to teach “color correction” beyond the introductory level generally privilege access to expensive equipment, calibrated systems, and controlled viewing spaces. This challenge is often reduced in a university environment since students have access to the school’s computer labs or postproduction rooms. Recent shifts to remote learning, however, have demonstrated a new form of “digital divide”. When students and professors attempt to work from home on laptops, phones, or outdated family computers, we see problems that limit student learning and make fair assessment difficult. Only by carefully shifting the methods we use to teach and evaluate can we mitigate the bad outcomes that arise when we use contemporary color correction techniques without the essential facilities. T hese issues became practical concerns in the past year at the new Digital Media Arts Center at Delta State University in Cleveland, Mississippi. In 2019, after carefully studying the methods used by professional editors and colorists, a Postproduction Suite was designed for student use. A calibrated 5K monitor was set up
