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The interviewee's rule of thumb is about 80 hours of grading for a 90-minute film.","status":"active","body":{"text":"Two public accounts show opposite contrast outcomes for different projects: an interviewed colourist finishes on a soft, film-like contrast curve and says small screens read more contrasty, while a 2016 trade article on Moonlight reports contrast deliberately pushed on set after preproduction tests with the colourist, a three-step look (thick colour from the mid-tones, blue in the blacks, teased highlights) and a different film-stock emulation per chapter. Both place the colourist as translating the cinematographer's intent after early discussion. Shot matching is named only as a duty; no matching method is given. The interviewee's rule of thumb is about 80 hours of grading for a 90-minute film.\n\nCurator qualifications: Pages and thesis read 2026-10-22; practitioner opinion; no grading performed or measured. Individual colourists are referred to by role, not name, in curator text. Article mixes quotes and journalist narration (F3). Hours ratio is one practitioner rule of thumb, not data.\n\nLimitations: Pages and thesis read 2026-10-22; practitioner opinion; no grading performed or measured.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.pushing-pixels.org/2017/04/09/the-art-and-craft-of-color-grading-interview-with-norman-nisbet.html","note":"Colourist interview (pushing-pixels.org, 2017-04-09), answers on screens, digital range, the job and pace; IndieWire Moonlight article, sections 'Testing the Limits of Contrast', three-step paragraph and 'Emulating Three Different Film Stocks'"},{"url":"https://www.indiewire.com/awards/industry/moonlight-cinematography-color-barry-jenkins-james-laxton-alex-bickel-1201740402/","note":"Colourist interview (pushing-pixels.org, 2017-04-09), answers on screens, digital range, the job and pace; IndieWire Moonlight article, sections 'Testing the Limits of Contrast', three-step paragraph and 'Emulating Three Different Film Stocks'"}]},"categories":["T02","T12"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://www.pushing-pixels.org/2017/04/09/the-art-and-craft-of-color-grading-interview-with-norman-nisbet.html","claim":"Two public accounts show opposite contrast outcomes for different projects: an interviewed colourist finishes on a soft, film-like contrast curve and says small screens read more contrasty, while a 2016 trade article on Moonlight reports contrast deliberately pushed on set after preproduction tests with the colourist, a three-step look (thick colour from the mid-tones, blue in the blacks, teased highlights) and a different film-stock emulation per chapter. 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