graded with the Da Vinci Resolve for Mac
Directed by Paul Soriano
Photography by Odie Flores
Shot with RED, Canon DSLRs and Weisscam
With the growing technology today, one can basically shoot crap, and still have a chance that it might come out beautiful in the end, given some investment in quality post-production. BUT, that’s not the case in Thelma. As digital colourist for the movie, I want the world to know, that there were barely any clean-ups or sky replacements done. The movie was shot beautifully.
I was awestruck when I first saw the raw material. Odie Flores is brilliant! All his skies were intact without compromising his subjects and foregrounds. As for the night scenes, shooting in a province, they probably didn’t do much lighting and just used available light. But, even so, everything was crisp and clean.
It isn’t easy grading a full-length film. Before Thelma, I’ve helped in two other movies, both indies. This was my first solo full-length film and I’m proud of it. Who wouldn’t be happy to work on a project with such spectacular material? I’m not saying this was any easier than the other two, it had a few problems along the way, but, what project doesn’t?
Data has truly come a long way. Nowadays, we barely get any film projects anymore. Data still isn’t and will probably never be better than film, but it sure looks amazing! And, it’s WAY more cost-efficient. I don’t think today’s indie and low-budget films (should we still even call them “films”?) would be able to be what they are if not for the latest technology in moving pictures.