post production feature
think I ended up with over 40 groups in total! This is also great when you need to make changes across entire scenes or even reels! The footage from Screech’s camera
was shot from on his head, in his pocket - anywhere he could put the camera. The images are very noisy and lack definition - definitely not as clean or vibrant as the Canon images they are intercut with. Instead of ‘fixing’ them, we decided to give them their own look by degrading them further - pumping in more saturation, adding grain and asymmetrical vignettes, and generally giving them an almost 'super 8' quality. The result accentuates the speed
and the energy of the character; you could say we reinforced his elevated state! This would have been much harder to accomplish on any other grading system, because alongside colour we also used compositing, paint and a string of plugins. I call this approach 'compositing with colour'. Directors love the freedom this affords them, especially since they never need to get up from their comfy chair! I would hazard a guess that 20% of
all of my colour work nowadays originates on digital SLRs, and film- makers are becoming more bold with
what they do with them. The choice is not always for financial reasons either. DPs and directors are experimenting with cameras and lenses. Digital cameras can feel lifeless because the images are so clean, so they’re pairing new sensors with old lenses from the 60s, 70s and 80s to give their images a unique look. I'm expecting pinhole cameras to make a comeback at some point! Dragonslayer would not have been
possible only five years ago. The size of the camera, crew and set-up time all have a profound effect on the 'performance' of the subject. The smaller and more unobtrusive the set- up, the more raw and more faithful the performance you get. With a DSLR you can get right up to the action without your subject feeling like he's surrounded by a Hollywood production crew. That makes a big difference. I don't think Canon knew what it
was getting itself into when it added an HD mode to the 5D Mk2. I've seen some truly wonderful images come out of this DSLR that Canon initially built for photo-reporters, but just like with every new technology, there's going to be a fair share of bad footage and awful cinematography to keep the critics happy. However, just like the
This is just a beautiful shot typical of Eric Koretz - great light casting lovely long afternoon shadows. All that was
needed was a little balancing, keeping the colours natural while toning down the green slightly.
saying goes, cameras don't shoot movies, DPs do! It’s all about enabling film-makers
to focus on their art, and the Pablo has all the tools to allow them to do just this, regardless of what format they decide to shoot on. I’m really proud to have played a small part in this very moving piece of art.
For a more in depth write-up of the
colour timing techniques used on Dragonslayer, visit Milton Adamou's website at
http://miltonadamou.com/2011/05/ 14/dragonslayer.
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www.ibeweb.com l september/october 2011 l ibe l 21
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