In this post, I’ll talk about how we achieved the ‘look’ of the film in post. Given that we shot everything on the Canon 5D mkII, several have been asking as to how we achieved the texture and skin tones of the film. From the beginning, my co-director Regina Garcia and I had a good idea of how we wanted the piece to look, which helped with the overall process.
In this sense, it was definitely the way we shot the piece that helped. We had the camera picture style setting set to a customized Neutral setting based on Stu Machwitz’s recommendation from his blog post (click here). This helped us maintain the dynamic range in the shadows and highlights that we needed.
In a lot of projects, I often go through the route of processing the footage through a dedicated colour grading application such as Davinci Resolve. In this particular case though, due to our time limitations and overall size of the project, we decided to use plug-ins within our NLE application.
I’ve been playing around a lot with Red Giant’s Magic Bullet Looks 2.0 and Colorista 2.0 for a while now and this was the plug-in of choice here. The new Looks 2.0 combined gave us a great amount of flexibility to create the overall look with powerful colour curve features. In most cases it was a matter of lifting the blacks and dampening the highlights in each colour spectrum (red, green, blue). We then used Colorista for power windows, any keying, and other similar minor tweaks.
While we used a work flow that was completely within our editing platform, we were still able to deliver a very rich texture and colour grade that definitely changed the overall tone of this film.
View the film here: