Sjors Krebbeks

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About Sjors Krebbeks

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  • Birthday 06/22/1990

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  1. During pre-production, I remember DP, Philippe Le Sourd getting in touch with me regarding the best format to use on this commercial. He was shooting with the Alexa and wanted to know if they should shoot ProRes or ARRIRAW. I strongly suggested ARRIRAW considering the amount of post that was involved and also the greater details in highlights and lows. But at the time, the ARRIRAW was a lot more expensive to work with throughout production and post. During the first session, we referenced a few spots that Fabien Baron had directed: Giorgio Armani 'Acqua Di Gio' and Calvin Klein 'Collectio
  2. Sjors Krebbeks

    THE GREAT GATSBY

    In order to reflex the hedonistic and flamboyant times of the 1920s and the characters depicted in The Great Gatsby, a super saturated and excessive look for the film was desired. Costume and Production Designer Catherine Martin worked closely with the DI team on the look of the film. Those sessions stand out as a career highlight. She has an incredible eye. She was insistent on more and more colour separation. At the time my thoughts were “there is no more”! But sure enough, with each pass the depth of the image improved. You really felt as if could fall into the picture. Catherine Martin won
  3. Sjors Krebbeks

    TRUE DETECTIVE

    I was brought on board when they started scouting. I spoke to the DP, Adam Arkapaw during the testing stages and he sent various looks that he liked and thought would work for the show. We also had some in-depth conversations about what he was looking for. One of the references we spoke of, was the movie "Seven". I didn't have any interaction with the director, Cary Fukunaga prior to him coming to NY to do post. Grading Technique True Detective was shot on Kodak negative, mostly 5219 and 5207, and color corrected on DaVinci Resolve. I chose not to use any LUTs for the show as we wa
  4. Sjors Krebbeks

    The Master

    Paul Thomas Anderson was getting closer to the final stage of his movie The Master, and the question of the DI came up. For how much he wanted to release the movie only in film form, the distributor needed the digital DCI for general distribution. Most of the theaters at that point where converting to digital projection and it was imperative for the distributor to fill the seats. I met Anderson during the final stages of the editing, did some VFX pulls (there are a grand total of three effects and two opticals in the movie) and we started to talk about how to approach the final DI. We wa
  5. Sjors Krebbeks

    Romeo & Juliet

    I only got involved with this film during the post-production process. I was assigned the project through my employee, Technicolor, in London and met the DP, David Tattershall a few weeks before we were due to grade. David had brought some images on his laptop that he took on the shoot. This gave me an early insight into what he wanted to do in the grade and we discussed the look we wanted to go for. I personally enjoy playing with the different natural colours that this kind of production design gives us. Wonderful natural light, lavish costumes and gorgeous set designs gave us a lovely
  6. Sjors Krebbeks

    It follows

    It Follows was scheduled to be colored at Tunnel Post in Santa Monica. So the people at Tunnel put me in touch with the director David Robert Mitchell and the cinematographer Michael Gioulakis and we had a lengthy conversation about the mood and tone of the film, a few months prior to principal photography. It was a wonderful experience to be brought in so early in the process and I wish all of my cinematographer friends would do this! Three stripe Technicolor At first, David's idea was to give the movie a three stripe Technicolor look, but at the same time, feeling contemporary. My ch
  7. Sjors Krebbeks

    Mad Max: Fury Road

    I came on board with the production in early 2014, and I met with George Miller, the director, and talked about what the look could be like. It was amazing to get such an open brief which was essentially "it should be saturated and graphic, and the night scenes should be blue". The main reason for this is quite interesting. George has been watching 30 years of other post-apocalyptic films and noticed that they all use the same bleached and de-saturated look. We knew we didn't want to make yet another film like that, so we had to find a way to make it saturated and rich. The other aspec
  8. Sorry about that, Lesson 2 is available now.
  9. Sometimes a dream might become reality before you know it 😄
  10. Sjors Krebbeks

    Scratch Essential Training

    T he Scratch Essential Training is designed for new Scratch users, and DaVinci Resolve colorists who are looking to add another excellent conform and finishing tool to their toolkit. Kevin P McAuliffe covers all the basics you need to know to perform the most common tasks that you do on a daily basis so that jumping in or making the switch will be as smooth as possible. About the instructor Kevin is an award winning editor and visual effects creator based in Toronto with over 15 years of teaching and training experience. Over the past years Kevin has delivered world-class work for
  11. The color-grading specialist Filmlight caused a bit of stir in the colorist community at NAB 2016. They introduced Base Grade, a new grading operator for Baselight. Base Grade is intended to replace classic tools such as 'Lift', 'Gamma' and 'Gain'. That sounds like a small revolution. Filmlight promises more consistent results compared to existing tools and a more natural working style. This is reason enough to take an in-depth look at it - not only for Baselight colorists. For the evaluation of Base Grade, a rough understanding of the evolution of color correction helps. The origins of c
  12. F or one of my latest projects my DoP asked me to create a custom LUT for him. We had a few camera tests prior to the shoot, and wanted to bring our custom look (as an LUT) to the set to see if his lighting, set colors, etc held up. While we were preparing the camera tests I read about the ARRI Look Library, a collection of 87 in-camera looks. The library was first released as part of the software package for the ARRI Amira Premium and Alexa Mini. For the Alexa SXT it is available as an optional license feature for 280 Euro. There is also an free IOS app which gives you an overview of all
  13. I n this screen-capture, which runs at 4x speed, you can see me working on a scene of a feature film. The scene was shot in the morning, and I also graded it for morning. Later the clients decided that it would be better if this scene was set at night. So I had a little more than a day to transfer the scene of about 5 min into night. It goes like this: A woman leaves a club and walks into a man with whom she starts a fight. When approaching such a task, it makes sense to imagine how it would have looked if it was really shot at night and how the DoP would have helped with lights, if he ha
  14. W hile I was at Columbia College Chicago, I got an internship at Whitehouse Post in Chicago. Towards the end of the internship, I spoke with one of the producers there asking about the next steps to getting into the industry. I had spent quite a bit of time shadowing the senior colorist at The Mill and knew I had a passion for color grading. She said that the senior colorist over at Company 3 Chicago had interned there awhile back and that I could use her as reference. I messaged him on LinkedIn, asking if he would be willing to answer some questions I had about what he does, the industry, and