POST


CRAFT GRADING


TOM POOLE Company 3


12 Years a Slave, Spotlight, Euphoria Cruella, Judas and the Black Messiah, Small Axe, Drive, I Tonya, The Place Beyond The Pines, Foxcatcher


With the second season of Euphoria, DP Marcell Rév used cross processed 35mm Ektachrome. There’s this beautiful, creamy texture to the image. Digital advancements are amazing, but I do think there is a tendency for things to become homogenised. A lot of DPs and directors would love to take a risk like Euphoria - a major studio allowing cross processed Ektachrome on a TV show that was already successful on digital. Hopefully, it opens the gate up to more filmmakers being able to be experimental within episodic.


You have certain relationships with DPs. The one I have with Marcell is similar to the one I have with [12 Years a Slave DP] Sean


98 televisual.com Spring 2022


Bobbitt. It’s like a drummer and a bass player and you just have that cadence, and it works perfectly. When the DP finds their colourist, and they have that vibe, it’s the best feeling in the world. You’re lucky when you get those relationships. And if you have a good relationship with a DP, you can be honest with them. Ultimately, it’s the director and the DP’s footage, but I think good relationships have positive conflict. An editor will debate with a director about the cut and a colourist will debate with DPs.


Colour science is very important. I create a lookup table for every show that I work on. Some colourists, and there’s nothing wrong with this, just have their go-to LUT.


For me, there are so many variables to the quality of lenses or the filtration that’s used and the lighting that’s used, I like to build a lookup table that is a good base of how the project was shot and that works for the package.


I’ll watch a piece by myself a couple of times, just to get a sense of it and make notes of things that jumped out to me. And then I create a colour bible where that first session is really loose and you’re just setting a couple of shots on each scene in the movie and moving on. And then I’ll string out those selected shots so you’re looking at a sizzle reel of the scenes in order and how they play off each other. And then we’ll make tweaks from there. It’s


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