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.

Blessing // Projected Background


Directed by Matthew Rosen

If I remember right, this project used an old trick for their backgrounds, projection. I think projected backgrounds still look best, plus, they’re not that expensive and can be easily changed.

Nowadays, they commonly use a tarp background or they just fill it chroma to be replaced in post. The problem with tarp is that when you don’t light it properly, it’ll wash out in some areas, and it can’t be easily replaced if you suddenly change your mind. Chroma gives you more freedom with what background you want to put but, you’ll have to give more time for post.

Dyosa


Directed by Yam Laranas

I love the earthy-jewel tone palette of this project.

Thelma

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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Victory // Resolve 8


Director: Mark Querubin

The new Resolve 8 will be coming out soon! They said it has big updates that include a multilayer timeline! Thank you! I’m looking forward to the new features! I hope they come out with Blend Modes next!

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