Category Archives: Color Grading

Colorist Asa Shoul joins Warner Bros. De Lane Lea

Warner Bros. De Lane Lea (WBDLL) has added colorist Asa Shoul to its new picture services department, which will launch this September. Shoul’s recent credits include Mission Impossible: Fallout, Baby Driver, Amazon’s Tin Star and he recently received a BAFTA craft award for his work on the multi award-winning Netflix series The Crown.

Shoul will be joined by his assistant Katie McCulloch, senior post producer Louise Stewart and online editor Gareth Parry, as well as additional industry-leading creative, technical and operations staff, yet to be announced.

The expansion will include the launch of two new 4K HDR grading theaters, in addition to online suites, mastering, content handling services and dark fibre connectivity for both Dolby UK and Leavesden Studios. A full-service production dailies offering based at Warner Bros. Studios Leavesden will also launched to help service the needs of productions.

Recent features at WBDLL include Wonder Woman; Three Billboards Outside Ebbing, Missouri; Fantastic Beasts and Early Man. It also has an impressive roster of high-end television clients including Netflix, Amazon, Starz, BBC and ITV.

Last year the company announced it will cement its future in Soho by moving to a new purpose-built post production facility located in the centre of Soho, which is currently under construction. WBDLL will be the anchor tenant within the Ilona Rose building which is slated to open in 2021.

Colorist Bob Festa on Yellowstone’s modern Western look

Paramount Network’s Yellowstone, from creator, writer and director Taylor Sheridan (Sicario, Hell or High Water), is a 10-episode modern-day Western starring Kevin Costner as the patriarch of the Duttons, owners of the largest ranch in the contiguous United States.

The Dutton family is in constant conflict with owners of the property surrounding their land, including developers, an Indian reservation and a national park. The series follows Costner’s character and his dysfunctional children as they navigate their bumpy road.

Cinematographer Ben Richardson and Efilm senior colorist Mitch Paulson already had a color lock on the pilot for Yellowstone, but brought on Encore senior colorist Bob Festa to work on the episodes. “As a Deluxe sister company, it was only natural to employ Encore Hollywood’s television resources,” explains Festa. “I was keen to collaborate with both Ben and Mitch. Mitch then served as supervising colorist.”

Let’s find out more from the veteran colorist.

How did you work with the director and DP?
Honestly, my first discussions with Ben were quite involved and fully articulated. For instance, while Ben’s work with Beasts of the Southern Wild and Wind River are wildly different looking projects —and shot on different formats — the fundamentals that he shared with me were fully in place in both of those projects, as well as with Yellowstone.

There is always a great deal of talking that goes on beforehand, but nothing replaces collaboration in the studio. I guess I auditioned for the job by spending a full day with Ben and Mitch at Encore. Talk is a cheap abstraction, and there is nothing like the feeling you get when you dim the lights, sit in the chair and communicate with pictures.

The only way I can describe it is it’s like improvising with another musician when you have never played together before. There’s this buildup of ideas and concepts that happens over a few shots, grades get thrown out or refined, layers are added, apprehension gives way to creativity, and a theme takes place. If you do this over 50 shots, you develop a language that is unique to a given project and a “look” is born.

What was your workflow for this project? What did you use tool-wise on Yellowstone?
ARRI RAW and Resolve were the foundation, but the major lifting came from using a Log Offset workflow, better known as the printer lights workflow. Although printer lights has its roots in a photochemical laboratory setting, it has tremendous real-world digital applications. Many feel this relationship to printer lights is very elementary, but the results can be scaled up very quickly to build an amazingly natural and beautiful grade.

The Resolve advanced panel can be remapped to use an additional fourth trackball as a fuel-injected printer light tool that is not only very fast and intuitive, but also exceptionally high quality. The quality angle comes from the fact that Log Offset grading works in a fashion that keeps all of the color channels moving together during a grade. All curves work in complete synchronicity, resulting in a very natural transition between the toe and the knee, and the shoulder and head of the grade.

This is all enhanced using pivot and contrast controls to establish the transfer characteristic of a scene. There is always a place for cross process, bleach bypass and other twisted aggressive grades, but this show demanded honest emotion and beauty from the outset. The Log Offset workflow delivered that.

What inspired the look of Yellowstone? Are there any specific film looks it is modeled after?
As a contemporary western, you can draw many correlations to cinematic looks from the past, from Sergio Leone to Deadwood, but the reality is the look is decidedly modern western.

In the classic film world, the look is very akin to a release print, or in the DI world it emulates a show print (generationally closer to the original negative). The look demands that the curves and saturation are very high quality. Ben has refined an ARRI LUT that really enhances the skies and flesh tones to create a very printy film laboratory look. We also use Livegrain for the most part using a 35mm 5219 emulation for night shots and a 5207 look for day exteriors to create texture. That is the Yellowstone recipe.

How did you approach the sweeping landscape shots?
Broad, cinematic and we let the corners bleed. Vignettes were never used on the wide vistas. The elements are simple: you have Kevin Costner on a horse in Montana. The best thing I can think of is to follow the medical credo of “do no harm.”

What was the most challenging aspect of coloring Yellowstone?
Really just the time constraints. Coordinating with the DP, the VFX teams and the post crew on a weekly basis for color review sessions is hard for everyone. The show is finished week by week, generally delivering just days before air. VFX shots are dropped in daily. Throw in the 150 promos, teasers and trailers, and scheduling that is a full-time job.

Other than color, did you perform any VFX shots?
Every VFX vendor supplied external mattes with their composites. We always color composite plates using a foreground and a background grade to serve the story. This is where the Resolves external matte node structure can be a lifesaver.

What is your favorite scene or scenes?
I have to go with episode one of the pilot. That opening shot sets the tone for the entire series. The first time I saw that opening shot, my jaw dropped both from a cinematography and story background. If you have seen the show, you know what I’m talking about.

DG 7.9.18

Review: Blackmagic’s Resolve 15

By David Cox

DaVinci Resolve 15 from Blackmagic Design has now been released. The big news is that Blackmagic’s compositing software Fusion has been incorporated into Resolve, joining the editing and audio mixing capabilities added to color grading in recent years. However, to focus just on this would hide a wide array of updates to Resolve, large and small, across the entire platform. I’ve picked out some of my favorite updates in each area.

For Colorists
Each time Blackmagic adds a new discipline to Resolve, colorists fear that the color features take a back seat. After all, Resolve was a color grading system long before anything else. But I’m happy to say there’s nothing to fear in Version 15, as there are several very nice color tweaks and new features to keep everyone happy.

I particularly like the new “stills store” functionality, which allows the colorist to find and apply a grade from any shot in any timeline in any project. Rather than just having access to manually saved grades in the gallery area, thumbnails of any graded shot can be viewed and copied, no matter which timeline or project they are in, even those not explicitly saved as stills. This is great for multi-version work, which is every project these days.

Grades saved as stills (and LUTS) can also be previewed on the current shot using the “Live Preview” feature. Hovering the mouse cursor over a still and scrubbing left and right will show the current shot with the selected grade temporarily applied. It makes quick work of finding the most appropriate look from an existing library.

Another new feature I like is called “Shared Nodes.” A color grading node can be set as “shared,” which creates a common grading node that can be inserted into multiple shots. Changing one instance, changes all instances of that shared node. This approach is more flexible and visible than using Groups, as the node can be seen in each node layout and can sit at any point in the process flow.

As well as the addition of multiple play-heads, a popular feature in other grading systems, there is a plethora of minor improvements. For example, you can now drag the qualifier graphics to adjust settings, as opposed to just the numeric values below them. There are new features to finesse the mattes generated from the keying functions, as well as improvements to the denoise and face refinement features. Nodes can be selected with a single click instead of a double click. In fact, there are 34 color improvements or new features listed in the release notes.

For Editors
As with color, there are a wide range of minor tweaks all aimed at improving feel and ergonomics, particularly around dynamic trim modes, numeric timecode entry and the like. I really like one of the major new features, which is the ability to open multiple timelines on the screen at the same time. This is perfect for grabbing shots, sequences and settings from other timelines.

As someone who works a lot with VFX projects, I also like the new “Replace Edit” function, which is aimed at those of us that start our timelines with early drafts of VFX and then update them as improved versions come along. The new function allows updated shots to be dragged over their predecessors, replacing them but inheriting all modifications made, such as the color grade.

An additional feature to the existing markers and notes functions is called “Drawn Annotations.” An editor can point out issues in a shot with lines and arrows, then detail them with notes and highlight them with timeline markers. This is great as a “note to self” to fix later, or in collaborative workflows where notes can be left for other editors, colorists or compositors.

Previous versions of Resolve had very basic text titling. Thanks to the incorporation of Fusion, the edit page of Resolve now has a feature called Text+, a significant upgrade on the incumbent offering. It allows more detailed text control, animation, gradient fills, dotted outlines, circular typing and so on. Within Fusion there is a modifier called “Follower,” which enables letter-by-letter animation, allowing Text+ to compete with After Effects for type animation. On my beta test version of Resolve 15, this wasn’t available in the Edit page, which could be down to the beta status or an intent to keep the Text+ controls in the Edit page more streamlined.

For Audio
I’m not an audio guy, so my usefulness in reviewing these parts is distinctly limited. There are 25 listed improvements or new features, according to the release notes. One is the incorporation of Fairlight’s Automated Dialog Replacement processes, which creates a workflow for the replacement of unsalvageable originally recorded dialog.

There are also 13 new built-in audio effects plugins, such as Chorus, Echo and Flanger, as well as de-esser and de-hummer clean-up tools.
Another useful addition both for audio mixers and editors is the ability to import entire audio effects libraries, which can then be searched and star-rated from within the Edit and Fairlight pages.

Now With Added Fusion
So to the headline act — the incorporation of Fusion into Resolve. Fusion is a highly regarded node-based 2D and 3D compositing software package. I reviewed Version 9 in postPerspective last year [https://postperspective.com/review-blackmagics-fusion-9/]. Bringing it into Resolve links it directly to editing, color grading and audio mixing to create arguably the most agile post production suite available.

Combining Resolve and Fusion will create some interesting challenges for Blackmagic, who say that the integration of the two will be ongoing for some time. Their challenge isn’t just linking two software packages, each with their own long heritage, but in making a coherent system that makes sense to all users.

The issue is this: editors and colorists need to work at a fast pace, and want the minimum number of controls clearly presented. A compositor needs infinite flexibility and wants a button and value for every function, with a graph and ideally the ability to drive it with a mathematical expression or script. Creating an interface that suits both is near impossible. Dumbing down a compositing environment limits its ability, whereas complicating an editing or color environment destroys its flow.

Fusion occupies its own “page” within Resolve, alongside pages for “Color,” “Fairlight” (audio) and “Edit.” This is a good solution in so far that each interface can be tuned for its dedicated purpose. The ability to join Fusion also works very well. A user can seamlessly move from Edit to Fusion to Color and back again, without delays, rendering or importing. If a user is familiar with Resolve and Fusion, it works very well indeed. If the user is not accustomed to high-end node-based compositing, then the Fusion page can be daunting.

I think the challenge going forward will be how to make the creative possibilities of Fusion more accessible to colorists and editors without compromising the flexibility a compositor needs. Certainly, there are areas in Fusion that can be made more obvious. As with many mature software packages, Fusion has the occasional hidden right click or alt-click function that is hard for new users to discover. But beyond that, the answer is probably to let a subset of Fusion’s ability creep into the Edit and Color pages, where more common tasks can be accommodated with simplified control sets and interfaces. This is actually already the case with Text+; a Fusion “effect” that is directly accessible within the Edit section.

Another possible area to help is Fusion Macros. This is an inbuilt feature within Fusion that allows a designer to create an effect and then condense it down to a single node, including just the specific controls needed for that combined effect. Currently, Macros that integrate the Text+ effect can be loaded directly in the Edit page’s “Title Templates” section.

I would encourage Blackmagic to open this up further to allow any sort of Macro to be added for video transitions, graphics generators and the like. This could encourage a vibrant exchange of user-created effects, which would arm editors and colorists with a vast array of immediate and community sourced creative options.

Overall, the incorporation of Fusion is a definite success in my view, whether used to empower multi-skilled post creatives or to provide a common environment for specialized creatives to collaborate. The volume of updates and the speed at which the Resolve software developers address the issues exposed during public beta trials, remains nothing short of impressive.


David Cox is a VFX compositor and colorist with 20-plus years of experience. He started his career with MPC and The Mill before forming his own London-based post facility. Cox recently created interactive projects with full body motion sensors and 4D/AR experiences.


Quick Chat: Freefolk colorist Paul Harrison

By Randi Altman

Freefolk, which opened in New York City in October 2017, was founded in London in 2003 by Flame artist Jason Watts and VFX artist Justine White. Originally called Finish, they rebranded to Freefolk with the opening of their NYC operation. Freefolk is an independent post house that offers high-end visual effects, color grading and CG for commercials, film and TV.

We reached out to global head of color grading Paul Harrison to find out his path to color and the way he likes to work.

What are your favorite types of jobs to work on and why?
I like to work on a mix of projects and not be pigeonholed as a particular type of colorist. Commercials are my main work, but I also work on music videos and the odd feature or longform piece. Each form has its own creative challenges, and I enjoy all disciplines.

What is your tool of choice, and why?
I use the FilmLight Baselight color system because it’s extremely versatile and will cope with any file format one cares to mention. On so many levels it allows a colorist to get on with the job at hand and not be bogged down by the kit’s limitations. The toolset is extensive and it doesn’t put boundaries in the way of creativity, like other systems I’ve used.

Are you often asked to do more than just color?
These days, because of the power of the systems we use, the lines are blurring between color and VFX. On most jobs I do things that used to be the realm of the VFX room. Things like softening skin tones, putting in skies or restoring elements of the image that need to be treated differently from the rest of the image.

Traditionally, this was done in the VFX room, now we do it as part of the grade. When there’s more difficult or time-consuming fixes required, the VFX artists will do that work.

How did you become a colorist? What led you down this path?
I started as a runner at the Mill in London. I had always had a keen interest in photography/art and film so this was the natural place for me to go. I was captivated by the mystery of the telecine suite; they looked hideously complex to operate. It was a mix of mechanical machinery, computers, film and various mixers and oscilloscopes, and it spoke to my technical, “How does this work” side of my brain, and the creative, photography/art side too.

Making all the various bits of equipment that comprised a suite then work together and talk to each other was a feat in itself.

Do you have a background in photography or fine art?
I’ve been a keen photographer for years, both on land and underwater. I’ve not done it professionally; it’s just grown through the influence of my work and interests.

In addition to your photography, where do you find inspiration? Museums? Films? A long walk?
I find inspiration from lots of different places — from hiking up mountains to diving in the oceans observing and photographing the creatures that live there. Or going for a walk in all weathers, and at all times of the year.

Art and photography are passions of mine, and seeing the world through the eyes of a talented photographer or artist, absorbing those influences, makes me constantly reassess my own work and what I’m doing in the color room. Colorists sometimes talk about learning to “see.” I think we take notice of things that others pass by. We notice what the “light” is doing and how it changes our environment.

If you had three things to share with a client before a project begins, what would that be?
Before a project begins? That’s a tough question. All I could share would be my vision of the look of the film, any reference that I had to show to illustrate my ideas. Maybe talking about any new or interesting cameras or lenses I’ve seen lately.

How do you prefer getting direction? Photos? Examples from films/TV?
Photos are always good at getting the message across. They describe a scene in a way words can’t. I’m a visual person, so that’s the preferred way for me. Also, a conversation imparts a feeling for the film, obviously that is more open to interpretation.

Do you often work directly with the DP?
DPs seem to be a rarer sight these days. It’s great when one has a good relationship with a DP and there’s that mutual trust in each other.

Is there a part of your job that people might not realize you do? Something extra and special that is sort of below the line?
Yes. Fixing things that no one knows are broken, whether it’s sorting out dodgy exposures/camera faults or fixing technical problems with the material. Colorists and their assistants make the job run smoothly and quietly in the background, outside of the color room.

What project are you most proud of?
Certain jobs stand out to me for different reasons. I still love the look of 35mm, and those jobs will always be favorites. But I guess it’s the jobs that I’ve had the complete creative freedom on like the Stella, Levi’s and Guinness commercials, or some of the music videos like Miike Snow. To be honest I don’t really have a top project.

Can you name some projects that you’ve worked on recently?
Since moving over to NYC recently, I’ve worked on some projects that I knew of before, and some I had no idea existed. Like a Swiffer — I had no idea what that was before working in NYC. But I’ve also graded projects for Cadillac, Bud Light, New York Yankees, Lays, State Farm and Macy’s, to name a few.


The Handmaiden‘s colorist walks us through scenes

The Handmaiden, directed by Chan-Wook Park and inspired by Sarah Waters’s 2002’s novel Fingersmith, is set in 1930s colonial Korea and Japan. In the film, Park presents a tale of a young Japanese lady living on a secluded estate, and a Korean woman who is hired to serve as her new handmaiden, but who is secretly involved in a con-man’s plot to defraud her of her large inheritance.

Park Jin-Ho

The film, which is the first Korean film ever to win a BAFTA award for best foreign language film, was graded by Park Jin-Ho, senior colorist at Cinemate in Korea. He completed the color grade in two weeks.

One of the key challenges for Park was to express the wet and humid weather after the rain. “It was difficult to recreate the sense of a wet and muggy scene on the screen,” he explained. “I found it really useful to mix several grades in one stack. It meant I could catch a thought and grade immediately before the idea disappeared, then blend it into the overall grade.”

Park has worked on several movie projects with director Chan-Wook Park since his time as a junior colorist and he also has plenty of experience working alongside Chan-Wook Park’s partner, DP Chung Chung-hoon. This close relationship meant that when The Handmaiden project started, he was able to join in discussions at the pre-production stage, which gave him time to test and adjust the camera and lens characteristics that had been chosen by the DP in advance.

Chung Chung-hoon used the Arri Alexa camera and vintage lenses to try to create the feeling of Joseon during the Japanese occupation of the 1930s.

Park Jin-Ho takes us through some of his work on various scenes in the movie, accompanied by a selection of before and after images. He worked on FilmLight Baselight.

Rain at BoYoungDang
The first scene is a very cloudy day. CG storm clouds were added to the sky. Then, in the DI, I removed the warm tone of the original footage to better express the cloudy day. To make the tone of the characters colder, I removed the yellow color and added blue that is close to white.

Before

After

Wide View of Kouzuki’s Countryside Palace
At the start of part one, we see a wide view of Kouzuki’s countryside palace. CG was used to add a little bit of cloud, and I added a little sunset mode to create the two different tones in the sky.

Before

After

Annex Road
The main lens used is the Hawk Vintage 74 anamorphic. The combination of camera and lens clearly differentiated The Handmaiden from other movies in terms of texture. I thought it might be just one specific look, but it was a good combination and the best reflection of the texture of film in the digital age as I have ever seen.

It was also impressive to create images while zooming in and out deeply with the anamorphic camera showing the depth of field and image texture.

One disadvantage of this lens, however, is that in a wide zoom shot the focus is distorted on the edges and in the corners. In the mask area shown below, blurring is strongly applied everywhere except for the center of the frame, and the focus is soft. I tried to give the images sharpness by using the fast tracking and keyframe together around the eyes of an actor. However, in such a wide view shot, it just wasn’t possible to focus on the upper part of the heroine, even when raising the sharpness value of the whole image.

Despite these disadvantages though, the filmic texture is fascinating.

Before

Improved Sharpness

Annex
This scene was in an annex of Kouzuki’s library. The characteristic of this library is that it is located in the shade and rarely experiences sunlight. So for this shot, I decreased saturation as well as the brightness of the light part of the scene.

Before

After

Leading Actors Skin Tone
The skin tones of the actors were rather pale. Typically, I graded the face of Lady Hideko to be expressed in pure whiteness throughout the movie, because she was trapped in the palace. On the contrary, I raised the skin tone of the maid Sook-hee a little, because she lived more freely than Hideko. The Count’s skin tone was desaturated because the actor’s original skin tone is strong already.

Before

After

Weather Change
In this scene, Hideko and Sook-hee are talking about their mothers. In the middle of their stories, the sun was covered by dark cloud. Before and after the dark clouds cover the sun, I showed the weather change on the two heroines through brightness and color tone.

Before

After

Palace’s Back Garden
This is where the Count is angry with Sook-hee. I reduced the brightness of the tree-lined garden to concentrate on the two characters.

Before

After

Hideko and Sook-hee Run Away
Here Hideko and Sook-hee run away from the palace for freedom. These cuts, arranged in Part 1 and Part 2, have a temporal change from the moment they run away over the wall to the moment they run across a wide field. Hideko and Sook-hee keep running toward freedom from the dark night to the coming of the dawn. The grade involved adding the feeling of the sunshine by separating the key of the characters and the field.

Before

After

Soul Asylum (psychiatric hospital)
The soul asylum scene needed a lot of hard work from the CG team because the director wanted to change the red brick wall into an achromatic wall. When I graded it on the big screen, I worked with mattes from CG as it was difficult to make a key to separate the wall and the actors.

Before

After

Library Basement
My work on the scene of the library basement involved showing when the Count did and did not smoke while in conversation with Kouzuki. The CG team added the smoke source, and I then added the green color to it and gradually revealed the cigarette-smoky basement.

Before

After

For those of you who would like to watch The Handmaiden, it’s available on Amazon Prime in the UK, and Blu-ray and DVD in US.


Roundtable: Director Autumn McAlpin and her Miss Arizona post team

By Randi Altman

The independent feature film Miss Arizona is a sort of fish out of water tale that focuses on Rose Raynes, former beauty queen and current bored wife and mother who accepts an invitation to teach a life skills class at a women’s shelter. As you might imagine, the four women who she meets there don’t feel they have much in common. While Rose is “teaching,” the women are told that one of their abusers is on his way to the shelter. The women escape and set out on an all-night adventure through LA and, ultimately, to a club where the women enter Rose into a drag queen beauty pageant — and, of course, along the way they form a bond that changes them all.

L-R: Camera operator Eitan Almagor, DP Jordan McKittrick and Autumn McAlpin.

Autumn McAlpin wrote and directed the film, which has been making its way through the film festival circuit. She hired a crew made up of 70 percent women to help tell this tale of female empowerment. We reached out to her, her colorist Mars Williamson and her visual effects/finishing artist John Davidson to find out more.

Why did you choose the Alexa Mini? And why did you shoot mostly handheld?
Autumn McAlpin: The Alexa Mini was the first choice of our DP Jordan McKittrick, with whom I frequently collaborate. We were lucky enough to be able to score two Alexa Mini cameras on this shoot, which really helped us achieve the coverage needed for an ensemble piece in which five-plus key actors were in almost every shot. We love the image quality and dynamic range of the Alexas, and the compact and lightweight nature of the Mini helped us achieve an aggressive shooting schedule in just 14 days.

We felt handheld would achieve the intimate yet at times erratic look we were going for following an ensemble of five women from very different backgrounds who were learning to get along while trying to survive. We wanted the audience to feel as if they were going on the journey along with the women, and thus felt handheld would be a wise approach to accomplish this goal.

How early did post — edit, color — get involved?
McAlpin: We met with our editor Carmen Morrow before the shoot, and she and her assistant editor Dustin Fleischmann were integral in delivering a completed rough cut just five weeks after we wrapped. We needed to make key festival deadlines. Each day Dustin would drive footage from set over to Carmen’s bay, where she could assemble while we were shooting so we could make sure we weren’t missing anything crucial. This was amazing, as we’d often be able to see a rough assembly of a scene we had shot in the morning by the end of day. They cut on Avid Media Composer.

My DP Jordan and I agreed on the overall look of the film and how we wanted the color to feel rich and saturated. We were really excited about what we saw in our colorist’s reel. We didn’t meet our colorist Mars Williamson until after we had wrapped production. Mars had moved from LA to Melbourne, so we knew we wouldn’t be able to work in close quarters, but we were confident we’d be able to accomplish the desired workflow in the time needed. Mars was extremely flexible to work with.

Can you talk more about the look of the film.
McAlpin: Due to the nature of our film, we sought to create a rich, saturated look color wise. Our film follows a former pageant queen on an all-night adventure through LA with four unlikely friends she meets at a women’s shelter. In a way, we tried to channel an Oz-like world as our ensemble embarks into the unknown. We deliberately used color to represent the various realities the women inhabit. In the film’s open, our production design (by Gabriel Gonzales) and wardrobe (by Cat Velosa) helped achieve a stark, cold world — filled with blues and whites — to represent our protagonist Rose’s loneliness.

As Rose moves into the shelter, we went with warmer tones and a more eclectic production design. A good portion of Act II takes place in a drag club, which we asked Gabe to design to be rich and vibrant, using reds and purples. Toward the end of the film as Rose finds resolution, we went with more naturalistic lighting, primarily outdoor shots and golden hues. Before production, Jordan and I pulled stills from films such as Nick & Norah’s Infinite Playlist, Black Swan and Short Term 12, which provided strong templates for the looks we were trying to achieve.

Is there a particular scene or look that stands out for you?
McAlpin: There is a scene when our lead Rose (Johanna Braddy) performs a ventriloquist act onstage with a puppet and they sing Shania Twain’s “Man, I Feel Like a Woman.”  Both Rose and the puppet wore matching cowgirl wardrobe and braids, and this scene was lit to be particularly vibrant with hot pinks and purples. I remember watching the monitors on set and feeling like we had really nailed the rich, saturated look we were going for in this offbeat pageant world we had created.

L-R: Dana Wheeler-Nicholson, Shoniqua Shandai, producer De Cooper, Johanna Brady, Autumn McAlpin, Otmara Marrero and Robyn Lively.

Can you talk about the workflow from set to post?
McAlpin: As a low-budget indie, many of our team work from home offices, which made collaboration friendly and flexible. For the four months following production, I floated between the workspaces of our talented and efficient editor Carmen Morrow, brilliant composer Nami Melumad, dedicated sound designer Yu-Ting Su, VFX and online extraordinaire John Davidson, and we used Frame.io to work with our amazing colorist Mars Williamson. Everyone worked so hard to help achieve our vision in our timeframe. Using Frame.io and Box helped immensely with file delivery, and I remember many careful drives around LA, toting our two RAID drives between departments. Postmates food delivery service helped us power through! Everyone worked hard together to deliver the final product, and for that I’m so grateful.

Can you talk about the type of film you were trying to make, and did it turn out as you hoped?
McAlpin: I volunteered in a women’s shelter for several years teaching a life skills class, and this was an experience that introduced me to strong, vibrant women whose stories I longed to tell. I wrote this script very quickly, in just three weeks, though really, the story seemed to write itself. It was the fall of 2016, at a time where I was agitated by the way women were being portrayed in the media. This was shortly before the #metoo movement, and during the election and women’s march. The time felt right to tell a story about women and other marginalized groups coming together to help each other find their voices and a safe community in a rapidly divisive world.

I’m not going to lie, with our budget, all facets of production and post were quite challenging, but I was so overwhelmed by the fastidious efforts of everyone on our team to create something powerful. I feel we were all aligned in vision, which kept everyone fueled to create a finished product I am very proud of. The crowning moment of the experience was after our world premiere at Geena Davis’ Bentonville Film Fest, when a few women from the audience approached and confided that they, too, had lived in shelters and felt our film spoke to the truths they had experienced. This certainly made the whole process worthwhile.

Autumn, you wrote as well as directed. Did the story change or evolve once you started shooting or did you stick to the original script?
McAlpin: As a director who is very open to improv and creative play on set, I was quite surprised by how little we deviated from the script. Conceptually, we stuck to the story as written. We did have a few actors who definitely punched up scenes by making certain lines more their own (and much more humorous, i.e. the drag queens). And there were moments when location challenges forced last-minute rewrites, but hey, I guess that’s one advantage to having the writer in the director’s chair! This story seemed to flow from the moment it first arrived in my head, telling me what it wanted to be, so we kind of just trusted that, and I think we achieved our narrative goals.

You used a 70 percent female crew. Can you talk about why that was important to you?
McAlpin: For this film, our producer DeAnna Cooper and I wanted to flip the traditional gender ratios found on sets, as ours was indeed a story rooted in female empowerment. We wanted our set to feel like a compatible, safe environment for characters seeking safety and trusted female friendships. So many of the cast and crew who joined our team expressed delight in joining a largely female team, and I think/hope we created a safe space for all to create!

Also, as women, we tend to get each other — and there were times when those on our production team (all mothers) were able to support each other’s familial needs when emergencies at home arose. We also want to give a shout-out to the numerous woman-supporting men we had on our team, who were equally wonderful to work with!

What was everyone’s favorite scene and why?
McAlpin: There’s a moment when Rose has a candid conversation with a drag queen performer named Luscious (played by Johnathan Wallace) in a green room during which each opens up about who they are and how they got there. Ours is a fish out of water story as Rose tries to achieve her goal in a world quite new to her, but in this scene, two very different people bond in a sincere and heartfelt way. The performances in this scene were just dynamite, thanks to the talents of Johanna and Johnathan. We are frequently told this scene really affects viewers and changes perspectives.

I also have a personal favorite moment toward the end of the film in which a circle of women from very different backgrounds come together to help out a character named Leslie, played by the dynamic Robyn Lively, who is searching for her kids. One of the women helping Leslie says, “I’m a mama, too,” and I love the strength felt in this group hug moment as the village comes together to defend each other.

If you all had to do it again, what would you do differently?
McAlpin: This was one fast-moving train, and I know, as is the case in every film, there are little shots or scenes we’d all love to tweak just a little if given the chance to start over from scratch. But at this point, we are focusing on the positives and what lies in store for Miss Arizona. Since our Bentonville premiere and LA premiere at Dances With Films, we have been thrilled to receive numerous distribution offers, and it’s looking like a fall worldwide release may be in store. We look forward to connecting with audiences everywhere as we share the message of this film.

Mars Williamson

Mars, can you talk about your process and how you worked with the team? 
Williamson: Autumn put us in touch, and John and I touched based a little bit before I was going to start color. We all had a pretty good idea of where we were taking it from the offline and discussed little tweaks here and there, so it was fairly straightforward. There were a couple of things like changing a wall color and the last scene needing more sunset than was shot. Autumn and John are super easy and great to work with. We found out pretty early that we’d be able to collaborate pretty easily since John has DaVinci Resolve on his end in the states as well.  I moved to Melbourne permanently right before I really got into the grade.

Unbeknownst to me, Melbourne was/is in the process of upgrading their Internet, which is currently painfully slow. We did a couple of reviews via Frame.io and eventually moved to me just emailing John my project. He could relink to the media on his end and all of my color grading would come across for sessions in LA with Autumn. It was the best solution to contend with the snail pace uploads of large files. From there it was just going through it reel by reel and getting notes from the stateside team. I couldn’t have worked on this with a better group of people.

What types of projects do you work on most often?
Williamson: My bread and butter has always been TV commercials, but I’ve worked hard to make sure I work on all sort of formats across different genres. I like to make sure I’ve got a wide range of stuff under my belt. The pool is smaller here in Australia than it is in LA (where I moved from) so TV commercials are still the bill payers, but I’m also still dipping into the indie scene here and trying to diversify what I work on. Still working on a lot of indie projects and music videos from the states as well so thank you stateside clients! Thankfully the difference in time hasn’t hindered most of them (smiles). It has led to an all-nighter here and there for me, but I’m happy to lose sleep for the right projects.

How did you work with the DP and director on the look of the film? What look did you want and how did you work to achieve that look or looks?
John Davidson: Magic Feather is a production company and creative agency that I started back in 2004. We provide theatrical marketing and creative services for a wide variety of productions. From the 3D atomic transitions in Big Bang Theory to the recent Jurassic World Fallen Kingdom week-long event on Discovery, we have a pretty great body of work. I came onboard Miss Arizona very much by accident. Last year, after working with Weta in New Zealand, we moved to Laguna Niguel and connected with Autumn and her husband Michael via some mutual friends. I was intrigued that they had just finished shooting this movie on their own and offered to replace a few license plates and a billboard. Somehow I turned that into coordinating the post-Avid workflow across the planet and creating 100-plus visual effects shots. It was a fantastic opportunity to use every tool in our arsenal to help a film with a nice message and a family we have come to adore.

John Davidson

Working with Jordan and Autumn for VFX and final mastering was educational for all of us, but definitely so with me. As I mentioned to Jordan after the showing in Hollywood, if I did my job right you would never know. There were quite a few late nights, but I think that they are both very happy with the results.

John, I understand there were some challenges in the edit? Relinking the camera source footage? Can you talk about that and how you worked around it?
Davidson: The original Avid cut was edited off of the dailies at 1080p with embedded audio. The masters were 3.2k Arri Alexa Mini Log with no sync sound. There were timecode issues the first few days on set and because Mars was using DaVinci Resolve to color, we knew we had to get the footage from Avid to Resolve somehow. Once we got the footage into DaVinci via AAF, I realized it was going to be a challenge relinking sources from the dailies. Resolve was quite the utility knife, and after a bit of tweaking we were able to get the silent master video clips linked up. Because 12TB drives are expensive, we thought it best to trim media to 48-frame handles and ship a smaller drive to Australia for Mars to work with. With Mars’s direction we were able to get that handled and shipped.

While Mars was coloring in Australia, I went back into the sources and began the process of relinking the original separate audio to the video sources because I needed to be able to adjust/re-edit a few scenes that had technical issues we couldn’t fix with VFX. Resolve was fantastic here again. Any clip that couldn’t be automatically linked via timecode was connected with clap marks using the waveform. For safety, I batch-exported all of the footage out with embedded audio and then relinked the film to that. This was important for archival purposes as well as any potential fixes we might have to do before the film delivered.

At this point Mars was sharing her cuts on Frame.io with Jordan and Autumn. I felt like a little green shift was being introduced over H.264 so we would occasionally meet here to review a relinked XML that Mars would send for a full quality inspection. For VFX we used Adobe After Effects and worked in flat color. We then would upload shots to box.com for Mars to incorporate into her edit. There were also two re-cut scenes that were done this way as well which was a challenge because any changes had to be shared with the audio teams who were actively scoring and mixing.

Once Mars was done we put the final movie together here, and I spent about two weeks working on it. At this point I took the film from Resolve to FCP X. Because we were mastering at 1080p, we had the full 3.2K frame for flexibility. Using a 1080p timeline in FCP X, the first order of business was making final on-site color adjustments with Autumn.

Can you talk about the visual effects provided?
Davidson: For VFX, we focused on things like the license plates and billboards, but also took a bit of initiative and reviewed the whole movie for areas we could help. Like everyone else, I loved the look of the stage and club scenes, but wanted to add just a little flare to the backlights so the LED grids would be less visible. This was done in Final Cut Pro X using the MotionVFX plugin mFlare2. It made very quick work of using its internal Mocha engine to track the light sources and obscure them as needed when a light went behind a person’s head, for example. It would have been agony tracking so many lights in all those shots using anything else. We had struggled for a while getting replacement license plates to track using After Effects and Mocha. However, the six shots that gave us the most headaches were done as a test in FCP X in less than a day using CoreMelt’s TrackX. We also used Final Cut Pro X’s stabilization to smooth out any jagged camera shakes as well as added some shake using FCP X’s handheld effect on a few shots that needed it for consistency.

Another area we had to get creative with was with night driving shots that were just too bright even after color. By layering a few different Rampant Design overlays set to multiply, we were able to simulate lights in motion around the car at night with areas randomly increasing and decreasing in brightness. That had a big impact on smoothing out those scenes, and I think everyone was pretty happy with the result. For fun, Autumn also let me add in a few mostly digital shots, like the private jet. This was done in After Effects using Trapcode Particular for the contrails, and a combination of Maxon Cinema 4D and Element 3D for the jet.

Resolve’s face refinement and eye brightening were used in many scenes to give a little extra eye light. We also used Resolve for sky replacement on the final shot of the film. Resolve’s tracker is also pretty incredible, and was used to hide little things that needed to be masked or de-emphasized.

What about finishing?
Davidson: We finalized everything in FCP X and exported a full, clean ProRes cut of the film. We then re-imported that and added grain, unsharp masks and a light vignette for a touch of cinematic texture. The credits were an evolving process, so we created an Apple Numbers document that was shared with my internal Magic Feather team, as well as Autumn and the producers. As the final document was adjusted and tweaked we would edit an Affinity Photo file that my editor AJ Paschall and I shared. We would then export a huge PNG file of the credits into FCP X and set position keyframes to animate the scroll. Any time a change was made we would just relink to the new PNG export and FCP X would automatically update the credits. Luckily, that was easy because we did that probably 50 times.

Lastly, our final delivery to the DCP company was a HEVC 10-bit 2K encode. I am a huge fan of HEVC. It’s a fantastic codec, but it does have a few caveats in that it takes forever to encode. Using Apple Compressor and a 10-core iMac Pro, it took approximately 13 hours. That said, it was worth it because the colors were accurately represented and gave us a file that 5.52GB versus 18GB or 20GB. That’s a hefty savings on size while also being an improvement in quality over H.264.

Photo Credit: Rich Marchewka

 


Behind the Title: DigitalFilm Tree colorist Rick Dalby

NAME: Rick Dalby

COMPANY: DigitalFilm Tree

CAN YOU DESCRIBE YOUR COMPANY?
I would describe DigitalFilm Tree (DFT) as a smaller, bleeding-edge, independently-owned post house that is capable of remote dailies, color and edit. I work with fellow colorists Dan Judy and Patrick Woodard.

AS A COLORIST, WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
What should fall under that title is that a Resolve colorist has become the creative gatekeeper for the producer’s, director’s and DP’s vision. You don’t just hand off a show and add some color. We have color tools that work akin to the way you work in Photoshop, using layer-mixers and alpha-mattes.

On-set, the DP and/or DIT that uses Resolve can send projects or custom LUTs or nodes that we can carry directly into the final color session. I would describe the colorist-driven post workflow as more holistic than ever before.

ARE YOU SOMETIMES ASKED TO DO MORE THAN JUST COLOR ON PROJECTS? 
Yes, we are asked to stabilize shots and add OFX plug-in looks and effects, which will evolve further with Resolve 15’s addition of Fusion. It’s really show-dependent. On a larger scale, with 4K and HDR, our colorists are redesigning workflows on a continual basis. Our online conform artists are doing most of the editing, though with Resolve, any of us might make the deliverables.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Collaborating with everyone at DFT and working with the clients that depend on us is rewarding for me. I like the art of color correction. When I can just sit down and get to work on scene looks and matching, the day passes quickly, and I can feel the creativity flow. It’s fun. When the client comes in to view and I’m in sync with their vision, there’s a great sense of accomplishment.

WHAT’S YOUR LEAST FAVORITE?
Post facilities have few windows. Sometimes, I just like to open the door and see something alive and green. Seriously though, the business end and paperwork are the things that don’t interest me.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Park ranger, running an animal rescue, Buddhist monk or one of my previous jobs, like being a broadcast news technical director. That sounds like a silly answer, but it’s not meant to be.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
That’s a long and difficult question to answer. When I was small, I used to get up very early with my dad and wait for the engineer to turn on the transmitter, so I could see the test pattern and watch some cartoons. I was a computer science major in college, but I didn’t like it. My brother worked at Compact Video and urged me to change career paths. I trained in journalism and broadcast news and worked in Sacramento television in graphics, studio and ENG camera, editing, technical directing and, finally, directing.

Next, was film transfer of 35mm prints for syndication, then on to master control and transmitter operations requiring an FCC license. That was all by the time I was 24, when I moved to Los Angeles to work with my brother in post. Within a year I was running a Rank and transferring features for most of the majors.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
The re-boot of Roseanne. Also Wrecked for TBS. I’ve been doing collaborative color with Dan and Patrick on NCIS: Los Angeles, Angie Tribeca, Great News and The 100.

The 100

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I’m very satisfied to have worked on iconic long-running shows like Friends and Everybody Loves Raymond and developing looks for shows like Friday Night Lights with David Boyd and Todd McMullen. Recently, having a chance to work with the creative team on the Roseanne reboot was a great experience. DP Johnny Simmons and Sara Gilbert were a great pleasure to work with.

WHERE DO YOU FIND INSPIRATION? ART? PHOTOGRAPHY?
Inspiration comes from the people I meet and the challenges I face. I also love the changing exhibits at the Broad Museum and LACMA. I’m always looking at films and television to dissect what other people think and do. I don’t like the work when it seems copy-cat.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
DaVinci, which has been part of most of my career — with the exception of a few years on Lustre. The best quality hero monitor that can display the great color and resolution we need to do this job. Anything Apple. My iPad is in much need of replacement.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I like Theo Miesner’s YouTube posts and the rapid-fire way he delivers. Recently, there’s a slew of YouTube posts that are helping me with Fusion. I use Facebook to follow my fellow meditators.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I don’t take it too seriously after this many decades. The stress is there sometimes. I acknowledge it, meditate and even go on long silent meditation retreats once or twice a year.

I walk to work, hike and sometimes just walk outside and breathe deeply. Ultimately, the stress is up to me, and how I choose to respond. Equanimity has become a guiding concept with the worldly winds.


Director Sasha Levinson talks about her Las Vegas tourism spots

After seeing some of her previous work, Humble director Sasha Levinson was approached by agency R&R Partners and the Las Vegas Convention and Visitors Authority with a vision of creating four short films of personal transformation, each set across one weekend in Las Vegas, where the city was the catalyst in each narrative. The spots play more like a film trailer than a commercial.

Initial scripts were already written, when Levinson won project. “Right out of the gate I started to develop ideas about how I would bring these stories to life in a way that created a human mystique around Las Vegas while showcasing how the city could have an authentically positive impact on each character’s life,” she says.

We reached out to Levinson to find out more about her process and the project.

Who did you work with the most from the agency?
R&R Partners’ Arnie DiGeorge (ECD), Scott Murray (CD) and Gerri Angelo (Producer) were the primary people I interacted with. Once I was officially on board, the collaboration stretched into a place I hadn’t seen in my commercial work thus far. The team stressed their desire to have a filmmaker that could truly bring the films to life, and I think I did just that. They trusted my process whole-heartedly.

Now and Then

Can you walk us through the production process?
While working on readying the scripts for production, I flew out to Las Vegas and spent several days location scouting in and around the city. It was very inspiring to start to feel the environment and begin to envision exactly how our scenes might play out.

We scouted many incredible spaces, both interior and exterior. My process was to put myself into the mindset of each of the characters and decide where they would want to spend their weekend.

The next step was casting, which was done in Las Vegas and Los Angeles. We all took a collective breath when we found our actors because they became the characters that had only been living on the page for quite a while.

It took a dedicated team and the full support of Humble, our production company, to pull this off. Line producer Trevor Allen, AD Scott Murray, AD Todd Martin, costume designer Karmen Dann and location scout/manager Kim Houser-Amaral were a huge help during this two-week shoot.

Two weeks?
Yes, we shot for eight days over the course of two weeks, filming mostly at night in restaurants, nightclubs and suites both on and off The Strip. For interiors alone we shot at over nine different hotel properties, and then filmed various exteriors, driving shots and desert scenes.

Can you talk about each of the four spots?
For the Now and Then spot we used a handheld and Steadicam to stay intimate with the characters. The film lives in a dreamy, indie space, making the audience feel like they are inside the story, and as if the flashbacks are their own memories.

Party of One

The Anniversary was the flirtiest, most luxurious of the films. We were initially planning to film in a different bar, but I changed the schedule when I saw the personality of the final location. It was perfect.

To me, Party of One was a quirky romantic comedy, but the real romance is with herself. This film had a cleaner look with colors that really popped, a playful wardrobe and fun music. The Meetup has the most obvious references to the iconic Oceans and Bond films, and I wanted to do this genre justice.

Victor, the actor in The Meetup has a comedy background, so he was able to give us something different and great each take. We used cleaner lenses and slower-paced, more precise movements using a dolly.

What did you shoot on, and why did you (and assuming the DP) feel this was the best camera?
We shot on the Alexa Mini for its stunning Alexa image and the smaller body. The choice was due to all of the handheld and Steadicam we knew we would be working with. I really love the Alexa and of course we played with a lot of filtration and elements in front of the lens.

Where did you find the inspiration for this campaign?
I was really inspired by the film Paris, je t’aime, which became a reference we really stayed true to with this campaign. We kept saying, “If these four films feel like a love letter to Las Vegas, then we’ve done our job.”

After we finished casting in LA, I spent a weekend in Vegas visiting Valley of Fire State Park, seeing Elton John in concert, riding on the High Roller, eating at some amazing restaurants and overall experiencing the city in a new and inspiring way. I’ve always loved the desert, so there is a built-in romance for me about Vegas being a desert oasis that you just feel, looking out the windows wherever you are. I wanted to capture that essence in this campaign.

Sasha on set

What was the biggest obstacle in directing these four spots?
Las Vegas is all about tourism, so we had to keep the visitor experience in mind when planning our schedules and shooting. It was a constantly changing puzzle of a schedule, but each location had a filming liaison that worked with us. They helped us film across iconic Las Vegas locations like the High Roller at the LinQ Hotel & Casino and the Bellagio Fountains, where we even had an engineer help us control the fountains, starting them at just the right moment in the shot.

Where was this project edited, and how did you work with the editors?
I worked extremely closely with the editors Erin Nordstrom and Nick Pezillo at Spot Welders in Venice, California. They cut on Adobe Premiere, and during the edit process we cut in side-by-side rooms. As we were cutting the first cuts I would hop between rooms as the edits were evolving.

Music was a huge point of discussion. Josh Baron was our music supervisor, and Human created some original pieces. Early in the edit process there was a lot of conversation about tone and feel of the soundtracks. Getting the music to encourage the cinematic feeling was very important to all of us.

Can you talk about what you wanted from the color grade?
Las Vegas has so much light and spectacle, and most of the films took place at night, so I wanted to capture that essence and make sure we didn’t go too far. The idea was that the character of Las Vegas should be cohesive across all four films, but each of the storylines should feel visually dedicated to their respective characters.

Dave Hussey at Company 3 too the reigns on color and hit the perfect balance between fantasy and reality.

We’ve heard a lot about making the ad and production industries more inclusive. How do you see the industry changing? Do you think organizations like Free the Bid are doing their jobs to help female directors get the work they deserve?
I think that filmmaking and content creation is about telling stories that accurately reflect reality, but this isn’t possible without diverse creators showcasing their own unique realities. I’ve spent a lot of time on scouts and shoots where I am the only woman, but this is changing, and there are more and more times where the van is all women, and it’s amazing!

However, just when I think diversity is becoming the norm, I’ll be on set with a crew member or client who says they’ve never worked with a female director. Free the Bid has been an incredible initiative and because it’s so action oriented, you can feel the rumblings of change in realtime. That’s exciting.

Do you have any tips for aspiring female directors?
Being a filmmaker in film or advertising is an incredible career path. My best advice is to develop your authentic voice and find projects that resonate with it. Don’t get lost in what you think you should be doing, and don’t just follow the trends. Be authentic in your work and speak from the heart. And when it comes to starting a reel, donate your time. Find brands or projects that cover the costs and give them your creative skills in exchange for footage to build a reel.

There has been a trend around branded content and spots, that look and like films, like this campaign. Do you think this trend will continue?
I think this trend will continue and extend deeper into newer mediums like immersive storytelling and interactivity. Brands are constantly searching for ways to connect with consumers, and I believe the art of storytelling is an age-old unifier and connector. So it makes sense. Personally, I love the three-act structure and any opportunity to work with this, whether it be 90 seconds or 90 minutes, inspires me.

Are you working on any upcoming projects that we should be on the lookout for?
I’m currently taking my recent film Welcome to Grandville through the festival circuit. It made its premiere at the Cleveland International Film Festival, Perspectives Exhibition, and more recently in New York City at the Soho International Film Festival.

I’ve also just completed a commercial project for Whirlpool, Google and Amazon’s Alexa. Currently, I’m writing a film called the The Discomfort of Skin, about the human discomfort with nudity and sexuality.


Behind the Title: Colorist David Rivero Martin

NAME: David Rivero Martin

COMPANY: Freelance colorist based in China

CAN YOU DESCRIBE WHAT YOU DO?
I color grade and supervise the finishing of feature films and commercials — normally all versions and often the trailers associated with them.

AS A COLORIST, WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
The amount of retouching (other than overall luma/chroma changes) that we usually do to the image.

Lord 2

WHAT SYSTEM DO YOU WORK ON?
Mostly in DaVinci Resolve and SGO Mistika, but I’m trying to get more time on Filmlight’s Baselight.

ARE YOU ASKED TO DO MORE THAN JUST COLOR ON PROJECTS?
Definitively. Sometimes I’m asked, sometimes I offer it, and sometimes I just do it. It can vary wildly… from texturing (grain, noise, denoise, adding textures) to beauty passes — going through everything else the system can do (warping, flares, sky replacements, compositing).

I’m always happy to do more for the image and the project. And having these tools within the systems I use means that even if those tasks might eventually go to another department, at least we get to see them right there and then, and see how the tools affect the image. Sometimes, there are things that are just done better at the grading stage, or there are things no one realized or thought of, and we deal with them. Lately, I’ve been using warping as a beauty tool, and also as a creative tool.

WHAT’S YOUR FAVORITE PART OF THE JOB?
On the job site, it’s the people: directors, photographers, producers, editors, mixers, the whole team. The collaboration between creative, hard-working people is what really drives most of the projects.

On the craft side, it’s when we get to create the style of the project. Those are the color jam sessions.

WHAT’S YOUR LEAST FAVORITE?
Chasing payments. Ha!

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Maybe I could have made it as an illustrator (I liked the narrative side of drawing panels and pages as a comic book artist, but I was too slow for the job). Other options would be engineer or historian.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
My first experiences in a studio were actually with my dad at a sound studio. He is a musician, so back when I was a kid he would bring me to the studio to help record and mix, which was pretty interesting and mysterious at the time.

I was always interested in storytelling; and the environment I grew up surely helped, given the family background and the long Spanish tradition of pictorial and graphic arts. By the time I was finishing my technical degree on film and TV, I had already done a few editing jobs and a bunch of other home projects using mostly computers (CG, matte painting, edit, motion graphics, color, VFX), so I definitively knew my place was in post. It’s similar to how I enjoyed being in the studio helping my dad rather than playing in front of an audience. Then, at my first internship, where I went as editor and motion graphics artist, I witnessed an actual grading session take place and I knew that was it. I got introduced to the craft and started right there as assistant.

Pepsi

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
I’m currently finishing grading two great films: Detective Dee 3: The Four Heavenly King (狄仁杰之四大天王) by Tsui Hark, and Lord 2 (爵迹2) by Guo Jingming. The most recent commercials I graded were for Apple, Pepsi and Cartier.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I try to craft my grading in a way that I can always be proud of, so it is hard for me choose a single one. There are several films during the last three years that I’m very proud of, including the two I’m currently working on. Sometimes it’s just some specific scenes, or sometimes it’s how we dealt with the shadows throughout the whole film. Or maybe it’s how the yellow evolves during the film, or how we shaped the volume and light of the characters in the climax of the film, etc.

I would like to mention Bangzi Melody (村戏), an independent film I graded last year that won the Golden Rooster Award (national Chinese award) for Best Cinematography. It recognized the bold creativity and effort it took during photography and grading. It was shot in color, but we graded it for black and white. And at times in the movie, the color flows into black, white with pools of red and green in the picture. Plus, there were some other effects we added into the grading. I was happy an independent film like this got recognized at that level, as well as our work with it.

Bangzi Melody

WHERE DO YOU FIND INSPIRATION? ART? PHOTOGRAPHY?
There is plenty of good material in the entertainment industry that I truly enjoy experiencing and analyzing: films, comic books, videogames, TV series.

When I have the chance, I go to painting galleries or museums, especially in Europe and my hometown of Madrid. Oh, and music. Music curiously serves as a guide and reference in many aspects of grading.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
My phone, my computer and my HiFi headphones.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Instagram. It’s a diverse source of pictures, from people of all kinds and all places.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I love spending time with my wife and daughter, going hiking through the wild or the countryside and my too many hobbies (laughs).

Luke Morrison joins Electronic Theatre Collective as head of color

Electric Theatre Collective has added Luke Morrison to its London of office as head of color. He will lead a team that already includes Jason Wallis, Lewis Crossfield, Kaitlyn Battistelli, Ruth Wardell, Mathieu Caplanne and Tim Smith.

During his decade-plus career, Morrison has won multiple AICE Awards, including a win in the Color Grading: Over 90 Seconds category for his 2018 Canadian Olympic Committee “Be Olympic” spot directed by Ian Pons Jewell.

Morrison joins Electric Theatre Collective from The Mill, where he spent the past few years setting up the color department at their Chicago office. While there, he led their color team and nurtured up-and-coming talent.

When asked what excited him about joining Electric, Luke had this to say: “Working with and nurturing talent is something that I’m really passionate about, so seeing how Electric holds this as one of their core values is exciting. The opportunity to add my experience and help shape the company whilst building upon their impressive work is inspiring. Having known and worked with many Electric members in the past, I’m looking forward to working alongside them again.”

To date Luke has worked with brands the like of Jeep, Mercedes-Benz, Beats and, most recently, Dollar Shave Club. He has graded for directors such as Wally Pfister, Pete Riski and Mark Romanek.