Major Project - Grading Session w/ Nathan Caws & Additional V/O
Grading DreamChaser With Nathan Caws & Additional V/O
Today was a productive day in the sense that we got an opportunity to sit down with industry professional Nathan Caws and discuss how to approach grading our film, the look of our documentary is incredibly important and we want to be able to accentuate every aspect of an already great looking shot, to bring out the colour and tone that we're looking for even further. Nathan is a respected industry grading expert who has come in to guide us through the process of grading and how we can approach some of our more tricky sequences in terms of the use of colour.
We spent a large amount of time going through the timeline and figuring out what kind of look we wanted to go for, in the end we settled on a two-tone grade. The majority of the film has a warm temperature grade to it with additional contrast and shadows, and a small highlights deficit, while the more sombre sequence at the South Downs towards the end of the documentary has a much colder looking grade with a decrease in temperature and increase in the vibrancy of blues in an effort to accentuate the water and ocean shown in the sequences, we found this also contrasted well against the green that lined the cliffs that Alex walks along. The South Downs sequence was by far the hardest sequence in our documentary for us to grade and colour-correct appropriately, this was mainly down to the fact that two of the shots from the Lumix G7 were unfortunately dramatically under-exposed, which resulted in us having to layer a large amount of exposure on top of them which in turn would blow out the sky in the background without the necessary adjustment in highlights. Surprisingly, Nathan said that the shot actually looked fine in his eyes following our initial adjustments, but was great in explaining to us how we could appropriately adjust individual colours within any given frame, to have more precise control over the colour pallette of our film.
We also took the opportunity to spend some time recording additional voice-over (V/O) in the recording booth that we have access to at the studios, this was an equally interesting experience as this is the first time we've gotten to use a facility like this in the production of one of our films. We recorded 5 new lines of dialogue for the intro to the racing license segment, as well as the introduction for the documentary. We decided to do this following feedback we got from Simon during our most recent feedback session and believe it was for the best of the documentary.
Today was a productive day in the sense that we got an opportunity to sit down with industry professional Nathan Caws and discuss how to approach grading our film, the look of our documentary is incredibly important and we want to be able to accentuate every aspect of an already great looking shot, to bring out the colour and tone that we're looking for even further. Nathan is a respected industry grading expert who has come in to guide us through the process of grading and how we can approach some of our more tricky sequences in terms of the use of colour.We spent a large amount of time going through the timeline and figuring out what kind of look we wanted to go for, in the end we settled on a two-tone grade. The majority of the film has a warm temperature grade to it with additional contrast and shadows, and a small highlights deficit, while the more sombre sequence at the South Downs towards the end of the documentary has a much colder looking grade with a decrease in temperature and increase in the vibrancy of blues in an effort to accentuate the water and ocean shown in the sequences, we found this also contrasted well against the green that lined the cliffs that Alex walks along. The South Downs sequence was by far the hardest sequence in our documentary for us to grade and colour-correct appropriately, this was mainly down to the fact that two of the shots from the Lumix G7 were unfortunately dramatically under-exposed, which resulted in us having to layer a large amount of exposure on top of them which in turn would blow out the sky in the background without the necessary adjustment in highlights. Surprisingly, Nathan said that the shot actually looked fine in his eyes following our initial adjustments, but was great in explaining to us how we could appropriately adjust individual colours within any given frame, to have more precise control over the colour pallette of our film.
We also took the opportunity to spend some time recording additional voice-over (V/O) in the recording booth that we have access to at the studios, this was an equally interesting experience as this is the first time we've gotten to use a facility like this in the production of one of our films. We recorded 5 new lines of dialogue for the intro to the racing license segment, as well as the introduction for the documentary. We decided to do this following feedback we got from Simon during our most recent feedback session and believe it was for the best of the documentary.
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