The whole image chain, one point of contact
Preparing a commercial, a feature or a series? I support your production from prep to lab delivery, and the setup adapts to the project, on set or near set.
From prep to lab
- Sort out in prep, with the camera department, what would stall the shoot later: recording formats, media, compatibility.
- Support the cinematographer through look development, from camera tests to the shooting LUTs.
- Design the workflow in a pre-production meeting with the cinematographer, production and post-production.
- Build the hardware and software architecture that matches that workflow.
- Program every camera and on-set monitor to keep color consistent from day one to wrap.
- Pre-grade the dailies on set.
- Sync sound and picture.
- Secure the data, temporarily or permanently.
- Deliver the dailies to the lab.
The point of it all
On several feature films, the colorist was able to start straight from the on-set grade instead of rebuilding it. That is exactly the goal: the cinematographer’s choices reach the end of the chain intact, and post-production begins with a head start, not with surprises.
I worked alongside the cinematographer on look development for Chien de la casse (Benoît Jaoul), Les Petites Peurs (Laurent Tangy) and La Fille sur l’étagère (Bernard Jallet).
Day to day: Livegrade, Silverstack, DaVinci Resolve, FilmLight Daylight and QTAKE. And when a shot calls for 1,000 frames per second, I operate the Phantom Flex 4K.