Next // Production Design

Directed by Yam Laranas

It’s such a pleasure when your mise-en-scene cooperates with your grade. Too bad, they cut out that other interview scene, which was pink and which, I thought, although very exaggerated, was very funny. It was a pink scene with the woman interviewer rolled away on her desk chair when the interviewee sneezed.

I believe production design has a big impact on your final look. True, with technology and cleverness, you can bring your images almost anywhere you want. But, there is a limit to how far you push, especially if you’re veering away from the image’s original direction. So, it helps loads if the colors you want are already there, rather than digitally putting them there. It would look more natural that way. When you digitally enhance or alter live images, you really have to be careful because it can easily look fake (unless that’s what you’re going for…).

“We’ll fix it in post.” Ever heard that phrase on set before? This attitude is such a peeve to me. What takes 2 minutes to put on lipstick, might take me an hour to isolate, track and adjust color each and every shot in grading. Sometimes, it’s not as easy as applying the setting, because each shot is, of course, different and will react differently to the setting, so, some tweeks are needed. In a lot of cases, it really saves time to do it on set rather than post, not only in grading, but also, and more so in VFX. It saves a lot of money too.



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.
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Meranti // grading Canon DSLR

graded with the Da Vinci Resolve

Directed by Jose Ticsay

I love the time lapse shots here. I did make two separate grades for each shot that show two different times of the day. They dissolved them into each other to get more of that time moving feel.

I believe they used canon cameras for those time lapses. Isn’t that amazing? Canons are starting to be common for shooting TVCs nowadays, which makes them much cheaper to produce, I suppose. Still, they’re not Film, RED or Arri. But, they’ll definitely do those jobs that are impossible for big bulky cameras.

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graded with the Da Vinci Resolve
Directed by Matthew Rosen
Camera used was RED Mysterium X

I woke up one morning to the ring of my cellphone. It was direk’s line producer calling. This was a week before the scheduled grading session, so, I wondered why she was calling me.

I nervously answered, “Hello?”

“Toni,” she said, “direk has a question for you.”

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Coming Soon: Thelma

thelma, Paul Soriano, Odie Flores, Mark Victor, Toni Gozum

I tell you, this film by Paul Soriano, has the most picturesque shots. I graded the whole thing with the Resolve. I must give credit, as well, to Odie Flores, Director of Photography for Thelma, who gave me such healthy material to work with. I don’t think I would have worked and finished as fast, if not for his work, even with the real-time speed of the Resolve.

I’m crazy excited for this film! It’s due to come out early this summer, I believe. Watch out for it!


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