I was introduced to the job midway through the post phase. It was at the point where all the plates had been shot, the edit had been locked and the VFX teams at The Mill had spent a few weeks working on the droplets. The main groundwork had been laid and it was getting to a good point. It was really nice for me to be introduced at this stage as I could come in with fresh eyes and see it as a blank canvas. I could come in and offer some new ideas on how the grade should look.
Colour is about a feeling of something that triggers a memory
- Matt Osborne -
Johnny Green is a wonderful director who has worked on so many great projects. He knows what he wants. I was grading with the agency Brothers & Sisters in London and he was viewing my output in NY, using our remote grading connection. The main thing Johnny wanted was a feeling of awe and magic: a grade that could compliment the visuals.
Golden Hour look
At the start we weren’t sure whether to go for a warm look or cool but as the VFX evolved it was clear that a warmer grade would be best suited to this piece. It looked higher caliber, more magical and premium. A cooler look actually worked better with Sky’s brand (clean whites) but we decided it played down the film and chose a nice Golden Hour look.
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