My role as Colourist hasn’t always seen me to most involved in the development of the entire production, but whenever I have been I have seen great leadership and team skills. This is the earliest project that is going into production and everything seems to be in place. My pure focus has been on the use of colour in the film, everything I’ve read I am confident I can execute on screen in the post-production period.
Despite my pre-production process starting off slowly with this project as it developed further my involvement as the grader became more and more prominent. Jack Hayter (Director of Photography), Tom Barton (Director) and I are all aware how important the visual story is for the project and have constantly kept in contact to ensure this will be executed perfectly. I have full confidence in Jack Hayter in capturing me great image to work with. The fact the project is shot in RAW on the Red One makes the grading process really promising, I personally love having this expanded palette to edit with. I have already identified various based palettes and know I can enhance the story to Tom’s suggestions.
Approaching the production period I may take the opportunity to experience with these identified palettes, but it is really the case of receiving the footage and enhancing it. Tom has requested that I get down on the shoot as a form of ‘Colour Consultant’ in order to considering the filming in relation to the grade. I’m not sure if I can make the production period, but I will produce some documents addressing considering to make when filming (i.e. pushing colours of items to accommodate to pulling them back in the grade). I will be grading this project in late February.