Tag Archives: color grading

Making the indie short The Sound of Your Voice

Hunt Beaty is a director, producer and Emmy Award-winning production sound recordist based in Brooklyn. Born and raised in Nashville, this NYU Tisch film school grad spent years studying how films got made — and now he’s made his own.

The short film The Sound of Your Voice was directed by Beaty and written and produced by Beaty, José Andrés Cardona and Wesley Wingo. This thriller focuses a voiceover artist who is haunted by a past relationship as she sinks deep into the isolation of a recording booth.

Hunt Beaty

The Sound of Your Voice was shot on location at Silver Sound, a working audio post house, in New York City.

What inspired the film?
This short was largely reverse-engineered. I work with Silver Sound, a production and post sound studio in New York City, so we knew we had a potential location. Given access to such a venue, Andrés lit the creative fuse with an initial concept and we all started writing from there.

I’ve long admired the voiceover craft, as my father made his career in radio and VO work. It’s a unique job, and it felt like a world not often portrayed in film/TV up to this point. That, combined with my experience working alongside VO artists over the years, made this feel like fertile ground to create a short film.

The film is part of a series of shorts my producers and I have been making over the past few months. We’re all good friends who met at NYU film undergrad. While narrative filmmaking was always our shared interest and catalyst for making content, the realities of staying afloat in NYC after graduation prompted a focus on freelance commercial work in our chosen crafts in order to make a living. It’s been a great ride, but our own narrative work, the original passion, was often moved to the backburner.

After discussing the idea for years — we drank too many beers one night and decided to start getting back into narrative work by making shorts within a particular set of constrained parameters: one weekend to shoot, no stunts/weapons or other typical production complicators, stay close to home geographically, keep costs low, finish the film fast and don’t stop. We’re getting too old to remain stubbornly precious.

Inspired by a class we all took at NYU called “Sight and Sound: Film,” we built our little collective on the idea of rotating the director role while maintaining full support from the other two in whatever short currently in production.

Andrés owns a camera and can shoot, Wesley writes and directs and also does a little bit of everything. I can produce and use all of my connections and expertise having been in the production and post sound world for so long.

We shot a film that Wesley directed at the end of November and released it in January. We shot my film in January and are releasing it here and now. Andrés just directed a film that we’re in post-production on right now.

What were you personally looking to achieve with the film?
My first goal was to check my natural inclination to overly complicate a short story, either by including too many characters or bouncing from one location to another.
I wanted to stay in one close-fitting place and largely focus on one character. The hope was I’d have more time to focus on performance nuance and have multiple takes for each setup. Realistically, with indie filmmaking, you never have the time you want, but being able to work closely with the actors on variations of their performances was super important. I also wanted to be able to focus on the work of directing as opposed to getting lost in the ambition of the production itself.

How was the film made?
The production was noticeably scrappy, as all of these films inevitably become. The crew was just the three of us, in addition to a rotating set of production sound recordists and an HMU artist (Allison Brooke), who all agreed to help us out.

We rented from Hand Held films, which is a block away from Silver Sound, so we knew we could just wheel over all of the lights and grip equipment without renting a vehicle. Wesley would would primarily focus on camera and lighting support for Andrés, but we were all functioning within an “all hands on deck” framework. It was never pretty, but we made it all happen.

Our cast was incredibly chill, and we had worked with Harry, the engineer, on our first short Into Quiet. We shot the whole thing over a weekend, (again, one of our parameters) so we could do our best to get back to our day-to-day.

Also, a significant amount of re-writing was done to the off-screen voices in post based on the performance of our actress, which gave us some interesting room to play around while writing to the edit, tweaking the edit itself to fit new script, and in the recording of our voice actors to the cut. Meta? Probably.

We’ve been wildly fortunate to have the support of our post-sound team at Silver Sound. Theodore Robinson and Tarcisio Longobardi, in particular, gave so much of themselves to the sound design process in order to make this come to life. Given my background as a production recordist, and simply due to the storyline of this short, sound design was vital.

In tandem with that hard work, we had Alan Gordon provide the color grading and Brent Ferguson the VFX.

What are you working on now?
Mostly fretting about our cryptocurrency investments. But once that all crashes and burns, we’re going to try and keep the movie momentum going. We’re all pretty hungry to make stuff. Doing feels better than sitting idly and talking about it.

L-R: Re-recording mixer Cory Choy, Hunt Beaty and supervising sound editor Tarcisio Longobardi.

We’re currently in post for Andrés’ movie, which should be coming out in a month or so. Wesley also has a new script and we’re entering into pre-production for that one as well so that we can hopefully start the cycle all over again. We’re also looking for new scripts and potential collaborators to roll into our rotation while our team continues to build momentum towards potentially larger projects.

On top of that, I’m hanging up the headphones more often to transition out of production sound work and shift to fully producing and directing commercial projects.

What camera and why?
The Red Weapon Helium because the DP owns one already (laughs). But in all seriousness, it is an incredible camera. We also shot on elite anamorphic glass. Only had two focal lengths on set, a 50mm and a 100mm plus a diopter set.

How involved were you in the edit?
DP Andres Cardona singlehandedly did the first pass at a rough cut. After that, myself and my co-producer Wes Wingo gave elaborate notes on each cut thereafter. Also, we ended up re-writing some of the movie itself after reconsidering the overall structure of the film due to our lead actress’ strong performance in certain shots.

For example, I really loved the long close-up of Stacey’s eyes that’s basically the focal point of the movie’s ending. So I had to reconfigure some of the story points in order to give that shot its proper place in the edit to allow it to be the key moment the short is building up to.

The grade what kind of look were you going for?
The color grade was done by Alan Gordon at Post Pro Gumbo using a DaVinci Resolve. It was simply all about fixing inconsistencies and finessing what we shot in camera.

What about the sound design and mix?
The sound design was completed by Ted Robinson and Tarcisio Longobardi. The final mix was handled by Cory Choy at Silver Sound in New York. All the audio work was done in Reaper.

Optical Art DI colorist Ronney Afortu on In the Fade

Chicago-born, Germany-raised Ronney Afortu has been enjoying a storied career at Hamburg-based studio Optical Art. This veteran senior DI colorist has an impressive resume, having worked on the Oscar-nominated film Mongol, with Oscar-winning director Bille August on Night Train to Lisbon, as well as the recent Golden Globe-winning movie In the Fade (Aus dem Nichts), a crime drama starring Diane Kruger and Denis Moschitto.

TheresaJosuttis

Ronney Afortu (Photo Credit: Theresa Josuttis)

Afortu believes that HDR and a wider color gamut is the technology to watch for the in future. He says, “It has had a big impact on DPs in how they set up a shot, how they light it.”

Let’s find out more about his path to colorist, his workflow in In the Fade, and trends he is seeing.

What led you to become a colorist?
After school, I started studying media engineering. But I also worked with a production company specializing in advertising. Having been on the shoot of a Coca-Cola commercial, I was invited to join the director for the telecine. I knew right away that was what I wanted to do.

The first experience of color grading for cinema — on a Thomson Specter with Pandora Pogle controller — was at VCC in Hamburg, the former parent company of Optical Art. I asked them if there were any opportunities to train as a colorist with them, and that was it.

What sort of projects do you work on?
At the time I joined them, Optical Art was a pioneer in digital intermediate. So from the start I have worked a lot on movies, and that is still what I do the most. But I also graded television features.

The boundaries between the two have become much more fluid in recent years. Television has become much more sophisticated. You meet the same DPs and directors on movies and television. The only difference is that in television you will have less time!

You currently work on FilmLight Baselight?
Yes. When I started out as a colorist, the Specter/Pogle combination was seen as state-of-the-art for 2K grading work, but it also represented a challenge in DI for movies. It was difficult to manage color spaces when writing back to film.

Frank Hellmann, the DI supervisor at Optical Art, learned about an outfit in London called Computer Film Company. They had developed a system that allowed you to communicate with the lab in printer lights. It transformed the way we worked — we were convinced that this was the right way to go.

That system developed by Computer Film Company was spun out into a new company, FilmLight, and the grading platform became Baselight. Optical Art decided to buy a Baselight system, and we became beta testers very early on. We still keep that serial number 0001 on one of our machines, though it has been upgraded a few times to the latest hardware.

Though I started in telecine, today we rarely see film because most of the labs in Europe have gone. Film meant many days of struggling to get a perfect print. So in that way I don’t miss it. In digital, you get a new [sensor] chip every couple of months. Kodak and Fuji would produce a new stock every few years. So we have constant improvement and new opportunities.

Can you tell us more about In the Fade?
I had worked with director Fatih Akin and DP Rainer Klausmann on a couple of movies previously, so the working relationship was very close right from the start.

In the Fade is a complex and dark movie. Each of its three acts has a distinctly different feel to it, and it was important for everyone to set these looks before the first day of shooting. This was one of those rare projects when the production company talked to us early to determine how best to do it. Rainer is a true DP — he lights really well. We ran six to eight tests to get the right kit, which allowed us to agree on how to get the looks in each section of the movie. But both Rainer and Fatih are quite “analog” thinkers. They believe that if you can do it on set, you should do so.

The tests went all the way to make-up. The director wanted lead actor Diane Kruger to look “not so good” in some of the more harrowing sequences. They wanted to ensure that every detail of the performance was captured.

What was the workflow for the movie?
In the Fade was shot using Arri Alexa cameras with wide gamut and that allowed for a high-quality DCP finish. Because of the way that Fatih and Rainer work, I was able to handle the dailies as well as the final grade. I used FilmLight’s Daylight system. This has the same grading toolkit as Baselight, and allows grades to be exported as BLG metadata so nothing is lost.

Fatih and Rainer prefer to watch dailies in the editing room — the old-fashioned way. On set they liked to concentrate on shooting, having faith in everyone else in the team. Daylight suits this workflow really well in creating graded dailies for the editing department, that was also located at Optical Art, as well as giving me the same starting point in the final Baselight grade.

Did you run into any challenges on the film?
Given that a lot of the “effects” were done in-camera, and we had seen everything in the dailies, by the time of the final grade we were pretty much on top of everything.

An interesting part of the movie is the big scenes in the rain. Most of the tension was created with lighting, but Fatih and Rainer encouraged me to enhance it. They wanted the audience to really feel getting drenched by the rain.

What about HDR, 4K and other trends in technology?
When I sit in the cinema, I don’t usually see pixels. So more resolution is not important to me. HDR and wider color gamut is what is exciting — provided we can get that all the way to the big screen.

That has the most impact I have seen over the last couple of years. You cannot compare it to film, but it has a big impact on DPs, in how they set up a shot, how they light it. Say the script says the villain moves out of a bar. Normally you could cut from interior to exterior. In HDR, you could simply follow the villain. Or the camera could stay inside and still see what is happening outside. This is a big shift for writers as well as for directors and DPs.

What do you do when you are not grading?
I love to be outside, because I spend my working time in the dark. I do a lot of sport, but most of all I spend time with my daughter.


Film Stills Photo Credit: Gordon Timpen

Point 360 grows team with senior colorist Charlie Tucker

Senior colorist Charlie Tucker has joined Burbank’s Point 360. He comes to the facility from Technicolor, and brings with him over 20 years of color grading experience.

The UK-born Tucker’s credits include TV shows such as The Vampire Diaries and The Originals on CW, Wet Hot American Summer and A Futile & Stupid Gesture on Netflix, as well as Amazon’s Lore. He also just completed YouTube Red’s show Cobra Kai. Tucker, who joined the company just last week, will be working on Blackmagic Resolve.

Now at Point 360, Tucker reteams with Jason Kavner, who took the helm as senior VP of episodic sales in 2017. Tucker also joins fellow senior colorist Aidan Stanford, whose recent credits include the Academy Award-winning feature Get Out and the film Happy Death Day. Stanford’s recent episodic work includes the FX series You’re the Worst and ABC’s Fresh Off the Boat.

When prodded to sum up his feelings regarding joining Point 360, Tucker said, “I am chuffed to bits to now be part of and call Point 360 my home. It is a bloody lovely facility that has a welcoming, collaborative feel, which is refreshing to find within this pressure cooker we call Hollywood. The team I am privileged to join is a brilliant, talented and very experienced group of industry professionals who truly enjoy what they do, and I know my clients will love my new coloring bay and the creative vibe that Point 360 has created.”

Creative editorial and post boutique Hiatus opens in Detroit

Hiatus, a full-service, post production studio with in-house creative editorial, original music composition and motion graphics departments, has opened in Detroit. Their creative content offerings cover categories such as documentary, narrative, conceptual, music videos and advertising media for all video platforms.

Led by founder/senior editor Shane Patrick Ford, the new company includes executive producer/partner Catherine Pink, and executive producer Joshua Magee, who joins Hiatus from the animation studio Lunar North. Additional talents feature editor Josh Beebe, composer/editor David Chapdelaine and animator James Naugle.

The roots of Hiatus began with The Factory, a music venue founded by Ford while he was still in college. It provided a venue for local Detroit musicians to play, as well as touring bands. Ford, along with a small group of creatives, then formed The Work – a production company focused on commercial and advertising projects. For Ford, the launch of Hiatus is an opportunity to focus solely on his editorial projects and to expand his creative reach and that of his team nationally.

Leading up to the launch of Hiatus, the team has worked on projects for brands such as Sony, Ford Motor Company, Acura and Bush’s, as well as recent music videos for Lord Huron, Parquet Courts and the Wombats.

The Hiatus team is also putting the finishing touches on the company’s first original feature film Dare to Struggle, Dare to Win. The film uncovers a Detroit Police decoy unit named STRESS and the efforts made to restore civil order in 1970s post-rebellion Detroit. Dare to Struggle, Dare to Win makes its debut at the Indy Film Festival on Sunday April 29th and Tuesday May 1st in Indianapolis, before it hits the film festival circuit.

“Launching Hiatus was a natural evolution for me,” says Ford. “It was time to give my creative team even more opportunities, to expand our network and to collaborate with people across the country that I’ve made great connections with. As the post team evolved within The Work, we outgrew the original role it played within a production company. We began to develop our own team, culture, offerings and our own processes. With the launch of Hiatus, we are poised to better serve the visual arts community, to continue to grow and to be recognized for the talented creative team we are.”

“Instead of having a post house stacked with people, we’d prefer to stay small and choose the right personal fit for each project when it comes to color, VFX and heavy finishing,” explains Hiatus EP Catherine Pink. “We have a network of like-minded artists that we can call on, so each project gets the right creative attention and touch it deserves. Also, the lower overhead allows us to remain nimble and work with a variety of budget needs and all kinds of clients.”

Creating the look for Netflix’s The End of the F***ing World

By Adrian Pennington

Content in 8K UHD won’t be transmitting or streaming its way to a screen anytime soon, but the ultra-high-resolution format is already making its mark in production and post. Remarkably, it is high-end TV drama, rather than feature films, that is leading the way. The End of The F***ing World is the latest series to pioneer a workflow that gives its filmmakers a creative edge.

Adapted from the award-winning graphic novels of Charles Forsman, the dark comedy is an eight-part co-production between Netflix and UK broadcaster Channel 4. The series invites viewers into the confused lives of teen outsiders James (Alex Lawther) and Alyssa (Jessica Barden), as they decide to escape from their families and embark on a road trip to find Alyssa’s estranged father.

Executive producer and director Jonathan Entwistle and cinematographer Justin Brown were looking for something special stylistically to bring the chilling yet humorous tale to life. With Netflix specifying a 4K deliverable, the first critical choice was to use 8K as the dominant format. Brown selected the Red Weapon 8K S35 with the Helium sensor.

In parallel, the filmmakers turned to colorist Toby Tomkins, co-founder of East London grading and finishing boutique studio Cheat, to devise a look and a workflow that would maximize the rich, detailed color, as well as the light information from the Red rushes.

“I’ve worked with Justin for about 10 years, since film school,” explains Tomkins. “Four years ago he shot the pilot for The End of The F***ing World with Jon, which is how I first became involved with the show. Because we’d worked together for so long, I kind of already knew what type of thing they were looking for. Justin shot tests on the Red Weapon, and our first job was to create a 3D LUT for the on-set team to refer to throughout shooting.”

Expert at grading commercials, and with feature-length narrative Sixteen (also shot by Justin Brown) under his belt, this was Tomkins’ first responsibility for an episodic TV drama, and he relished the challenge. “From the beginning, we knew we wanted to work completely RAW at 7K/8K the whole way through and final output at 4K,” he explains. “We conformed to the R3D rushes, which were stored on our SSD NAS. This delivered 10Gbps bandwidth to the suite.”

With just 10 days to grade all the episodes, Tomkins needed to develop a rich “Americana” look that would not only complement the dark narrative but would also work across a range of locations and timescales.

“We wanted the show to have richness and a denseness to it, with skin tones almost a leathery red, adding some warmth to the characters,” he says. “Despite being shot at British locations — with British weather — we wanted to emulate something filmic and American in style. To do this we wanted quite a dense film print look, using skin tones you would find on celluloid film and a shadow and highlight roll-off that you would find in films, as opposed to British TV.”

Cheat used its proprietary film emulation to create the look. With virtually the whole series shot in 8K, the Cheat team invested in a Quad GPU Linux Resolve workstation, with dual Xeon processors, to handle the additional processing requirements once in the DaVinci Resolve finishing suite.

“The creative benefits of working in 8K from the Red RAW images are huge,” says Tomkins. “The workstation gave us the ability to use post-shoot exposure and color temperature settings to photorealistically adjust and match shots and, consequently, more freedom to focus on the finer details of the grade.

“At 8K the noise was so fine in size that we could push the image further. It also let us get cleaner keys due to the over-sample, better tracking, and access to high-frequency detail that we could choose to change or adapt as necessary for texture.”

Cheat had to conform more than 50 days of rushes and 100TBs of 7K and 8K RAW material spread across 40 drives, a process that was completed by Cheat junior colorist Caroline Morin in Resolve.

“After the first episode, the series becomes a road movie, so almost each new scene is a new location and lighting setup,” Tomkins explains. “I tried to approach each episode as though it was its own short film and to establish a range of material and emotion for each scene and character, while also trying to maintain a consistent look that flowed throughout the series.”

Tomkins primarily adjusted the RAW settings of the material in Resolve and used lift, gamma and gain to adjust the look depending on the lighting ratios and mood of the scenes. “It’s very easy to talk about workflow, tools and approach, but the real magic comes from creative discussions and experimentation with the director and cinematographer. This process was especially wonderful on this show because we had all worked together several times before and had developed a short hand for our creative discussion.

“The boundaries are changing,” he adds. “The creative looks that you get to work and play with are so much stronger on television now than they ever used to be.”

NAB 2018: A closer look at Firefly Cinema’s suite of products

By Molly Hill

Firefly Cinema, a French company that produces a full set of post production tools, premiered Version 7 of its products at NAB 2018. I visited with co-founder Philippe Reinaudo and head of business development Morgan Angove at the Flanders Scientific booth. They were knowledgeable and friendly, and they helped me to better understand their software.

Firefly’s suite includes FirePlay, FireDay, FirePost and the brand-new FireVision. All the products share the same database and Éclair color management, making for a smooth and complete workflow. However, Reinaudo says their programs were designed with specific UI/UXs to better support each product’s purpose.

Here is how they break down:
FirePlay: This is an on-set media player that supports most any format or file. The player is free to use, but there’s a paid option to include live color grading.

FireDay: Firefly Cinema’s dailies software includes a render tree for multiple versions and supports parallel processing.

FirePost: This is Firefly Cinema’s proprietary color grading software. One of its features was a set of “digital filters,” which were effects with adjustable parameters (not just pre-set LUTs). I was also excited to see the inclusion of curve controls similar to Adobe Lightroom’s Vibrance setting, which increases the saturation of just the more muted colors.

FireVision: This new product is a cloud-based review platform, with smooth integration into FirePost. Not only do tags and comments automatically move between FirePost and FireVision, but if you make a grading change in the former and hit render, the version in FireVision automatically updates. While other products such as Frame.io have this feature, Firefly Cinema offers all of these in the same package. The process was simple and impressive.

One of the downsides of their software package is its lack of support for HDR, but Raynaud says that’s a work in progress. I believe this will likely begin with ÉclairColor HDR, as Reinaudo and his co-founder Luc Geunard are both former Éclair employees. It’s also interesting that they have products for every step after shooting except audio and editing, but perhaps given the popularity of Avid Media Composer, Adobe Premiere and Avid Pro Tools, those are less of a priority for a young company.

Overall, their set of products was professional, comprehensive and smooth to operate, and I look forward to seeing what comes next for Firefly Cinema.


Molly Hill is a motion picture scientist and color nerd, soon-to-be based out of San Francisco. You can follow her on Twitter @mollymh4.

Color plays key role in Ava DuVernay’s A Wrinkle in Time

Color itself plays a significant role in the fantasy feature A Wrinkle in Time. To help get the look she wanted, director Ava DuVernay chose Mitch Paulson of Hollywood’s Efilm to handle final color grading — the two worked together on the Oscar-nominated film Selma. Wrinkle, which was shot by Tobias Schliessler, captures the magical feel of lead character Meg’s (Storm Reid) journey through time and space.

The film has several different looks. The rather gloomy appearance of the Meg’s difficult life on earth is contrasted by the incredibly vibrant appearance of the far-off planets she’s taken to by a trio of magical women — played by Oprah Winfrey, Reese Witherspoon and Mindy Kaling.

Paulson recalls DuVernay’s thinking. “Ava talked a bit about The Wizard of Oz, where the early scenes are in black and white and then it goes into color. She didn’t want to take things that far but that informed the overall approach. The parts on Earth at the beginning are somewhat desaturated and depressed looking. Meg lives with her mom because her dad has mysteriously disappeared. She has issues at school and is constantly bullied.”

To fine-tune this idea, Paulson built curves inside of Autodesk Lustre 2017. These were designed to desaturate many colors, particularly blues and greens, without significantly altering skin tones. Then he went through shot-by-shot to refine this even further using Lustre’s Diamond Keyer function to isolate certain colors (such as the blue in a row of school lockers) and further pull out some saturation. “I keyed almost everything,” he says, “grass, skies, water. I’d have at least three to four keys per shot.”

Then, as Meg and friends travel to the other planets, Paulson says, “We did the opposite and used curves and keying to make things brighter and more saturated. As soon as they jump to the first planet, you feel the difference.” He also points out that the time travelers find themselves in a large grassy field — a scene for which he isolated the real green of the New Zealand location and brought the saturation beyond anything we’d be used to seeing in real life.

“By manipulating the chrominance softness and tolerance diamonds of the keyer, you can quickly and easily isolate the color for a key. I find it more effective than an HSL tracker,” he explains. The colorist also finds system’s shapes tool to be very effective. “I use it all the time to isolate a portion of an actor’s face or hair to create a subtle idea of light there that sometimes really help as a final step to making a VFX shot blend perfectly with the background.”

Not all the planets the characters travel to are happy places, and Paulson worked with the filmmakers to create some variations on the color themes. The planet, Camazotz is an evil place, he says. “That’s not obvious at first but we sort of queue it right away by making it look just a bit off. For example, we took almost all the green out of the plants.”

Besides the standard d-cinema version, Paulson also did trim passes for Dolby Cinema 2D, Dolby Cinema 3D (14 foot-lamberts) and standard 3D (3.5 foot-lamberts), each of which requires additional refinement. “Tobias likes the really deep blacks you can get in the Dolby Cinema version, but we didn’t want to push things too far. It’s already so colorful and saturated that when we’d open the files in PQ (Dolby’s Perceptual Quantizer) we pulled a lot of it back so that it has an extra pop, but it still is very similar to the way the P3 version looks.”

Dailies were colored at Efilm by Adrian DeLude on Colorfront OSD. Files were conformed in Autodesk Flame. Deluxe’s Portal service was the tool used by VFX vendors to locate and download camera-original material and upload iterations of shots, which were then integrated onto Paulson’s Lustre timeline as the final grade proceeded.

Video: Red Sparrow colorist David Hussey talks workflow

After film school, and working as an assistant editor, David Hussey found himself drawn to color grading. He then became an assistant to a colorist and his path was set.

In a recent video interview with the now senior colorist at LA’s Company 3, Hussey talks about the differences of coloring a short-form project versus a long-form film and walks us through his workflow on Red Sparrow, which stars Jennifer Lawrence as a Russian ballerina-turned-spy.

Please watch…

Behind the Title: Encore Senior Colorist Bob Festa

NAME: Bob Festa

COMPANY: Encore

CAN YOU DESCRIBE YOUR COMPANY?
Situated in sunny Hollywood, Encore Hollywood offers file-based post services, including HDR Dolby Vision mastering, 4K workflows, near-set dailies and visual effects.

AS A COLORIST, WHAT WOULD SURPRISE PEOPLE ABOUT WHAT FALLS UNDER THAT TITLE?
Modern color in the episodic television world means being prepared to contribute on any issue, none more important than beauty fixes. All of the contemporary color tools that we use today have handles for eye sharpening, skin softening, crow’s feet, baggage and mid-tone detail augmentation. Beauty work today can take 50% of the color session time. We help ensure that the actors look their best.

WHAT SYSTEM DO YOU WORK ON?
Primarily DaVinci Resolve and FilmLight Baselight.

Runaways

ARE YOU ASKED TO DO MORE THAN JUST COLOR ON PROJECTS?
Almost all projects are conformed or assembled before color even begins. That means all camera RAW shots are assembled on a timeline, in cut order, with transitions and effects. Beyond grading the color of a piece… things like composition, speed, and textural changes like “film grain” or softness are all routine on a daily basis.

WHAT’S YOUR FAVORITE PART OF THE JOB?
I never thought I’d say this, but people. Collaborating with people can be really rewarding and fun. They can really make your day. I’ve had days where 1,000 shots just seem to fly by because of the air in the room.

WHAT’S YOUR LEAST FAVORITE?
People. Collaborating with people. Not everyone has a good day every day, and many times whatever attitude or phone call that enters the studio becomes my challenge for the day. Those are the days where it feels like you have been on a single shot all day long.

WHY DID YOU CHOOSE THIS PROFESSION, WHAT WAS YOUR PATH?
After realizing that online editing was not for me, supervising feature film telecine sessions made me realize that I could do this. Not only was it highly creative, but it was a black art that had limitless areas where I could contribute. Many of the tools that I used back then, Topsy, Dubner, Prism and EPR were all highly customized, and no two were alike. Romancing color out of a Rank IIIC and threading a magna tech dubber was like wrestling an alligator; it was very physical and fun. It took about six months before I developed confidence and a reasonable eye for good color.

The Last Ship

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Yes, executive producer Michael Bay’s The Last Ship (TNT) and Marvel’s Runaways (Hulu), for which I also handle the HDR grade.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
It might not be the one I’m most proud of, but it’s one that had my jaw hit the floor in the ‘90s —Joe Pytka’s “Perrier… it’s perfect” commercial. Shot on Aaton 35mm in France, there was just something exceptional about the exposures, even in standard def. Many believe it was the light in Provence, or the quaint French villages or the quality of the water at the lab or Pytka’s genius. Whatever it was it all just worked. It’s still my guilty pleasure to this day. Ironically enough, I worked on this commercial the first time I worked at Encore Hollywood.

WHERE DO YOU FIND INSPIRATION? ART? PHOTOGRAPHY?
I have an expression: “I steal from the best.” I have been so lucky to work with the top creatives again and again. After working with so many talented people in a dark studio for so many years, it’s only natural to liberate some of these great techniques that have worked so well for others. It’s my job to recognize the opportunities to contribute some of those ideas and improvise and combine them for a given shot today.

I have an exercise that I share with young aspiring colorists where I ask them to look at a camera RAW shot and tell me what they see, and how they can contribute color wise. Invariably, they bring something from their past to their color approach. We all use our fields of experience when grading.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Acrylic contemporary art, environmental conservancy or upright jazz bass.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Personally, I’d say digital audio reproduction for home HiFi. German cars for the hours of driving in Los Angeles and cellphones to stay in touch with my loved ones.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Instagram is a great source of color and composition. Existing rules are broken there every day. Larry Bridges a famous editor and owner of Red Car editorial used to say, “Today’s mistakes are tomorrows techniques.”

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First-time director of Beyond Transport calls on AlphaDogs for post

The new documentary Beyond Transport, directed and produced by Ched Lohr, focuses on technology and how it’s brought people together while at the same time creating a huge disconnect in personal relationships. In this doc, this topic is examined from the perspective of cab drivers. Shot on all seven continents of the world, the film includes interviews with drivers who share their accounts of how socializing has changed dramatically in the 21st Century.

Eighteen months in the making, Beyond Transport was shot intermittently due to an extensive travel schedule to countries that included, Ireland, Cambodia, Tanzania and Australia. An unexpected conversation with a cab driver in Cairns, Australia, and a dive trip to the Great Barrier Reef were initially what inspired Lohr to make the film. “I noticed all the divers were using their personal devices in between dives,” says Lohr. “It seemed like meeting new people and connecting with others has become less of a priority. I thought it would be interesting to interview cab drivers because they have a very unique perspective of people’s behaviors.”

A physician by trade, Lohr had a vision for the documentary, but no idea on how to go about creating it. With no background in producing, writing or even how to use editing systems, Lohr assembled a team of pros to help guide him through the process, including hiring the team at Burbank’s AlphaDogs to complete post for the film.

AlphaDogs colorist Sean Stack distinguished differences in climate between the various locations by choosing specific color palettes. This helped bring the audiences into the story with a feel and vibe on what it might feel like to actually be there in person. “The filmmaker talks to cab drivers from a variety of climates, ranging from the searing heat of Tanzania, to the frigid temperatures of Antarctica,” describes Stack. “With that in mind, I navigated through the documentary looking for ways to help define the surroundings.”

To accomplish this, Stack added saturated warm colors, such as yellow, tan and brown to locations in South Africa and South America, making even the dirt, cars and buildings radiate a sense of intense heat. In contrast, less saturation was given to the harsher climate of Antarctica, using a series of blue tones for both the sky and the water, which added depth, and also gave a more frigid and crisp appearance. Blackmagic’s DaVinci Resolve Power Windows were used to fix problems with uncontrolled lighting situations present in the interviews with cab drivers. Hand-held footage was also stabilized, with a final touch of film grain added to take away from a videotape feel and give a more inviting texture to the documentary.

In addition, Stack created an end credits section by pulling shots of the cab drivers looking into the camera and smiling. “This accomplished the goal of the filmmaker to have pictures accompany the end credits,” explains Stack. “It also added another element of connection to the drivers who are telling the story. Seeing them one last time reminds the viewer of some of the best moments in the documentary and hopefully taking those memorable moments away with them.”

AlphaDogs audio engineer Curtis Fritsch completed audio on the film that included clean up on noisy audio files, since most all of the interviews take place inside of a cab. To keep the audio from sounding over processed, Fritsch used a very specific combination of Cedar and Izotope plugins. “We were able to find a really good balance in making the dialogue sound much clearer and pronounced,” he says. “This was of particular importance in the scene where a muezzin is reciting the adhan (call to prayer). I was able to remove the wind noise so you not only heard the prayer in this dreamlike sequence but also to keep the focus on the music, rather than the VFX.”