After all of my various grade export tests I came to the verdict to deliver an Uncompressed RGB 10-bit and a MPEG4 as reference. The debate between RGB and DPX was difficult, but judging by the experience of Tom (Director) as an editor I felt delivering a self-contained MOV file would be an easier concept for him to grasp. I decided to split the film into 4 sequences so no single file would be too large to cause the system to freeze or crash.
The final export took around 16 hours. I also colour-traced a couple of grades for the pickup shots Tom has spoken to me about, one didn’t appear in the sequence whilst the other was a misunderstanding when making continuity edits in DaVinci. Everything is clearly labelled on his hard drive, he now has all of the files so my role on this project is completed.
This project has been a fantastic opportunity to push the grade right to the limits of what is considered ‘natural’ and what is ‘surreal’. I love to push colour to become very stylistic and definite narratives through expressionism, this project has enabled me to work this into my craft as a colour grader. Tom took the time to tell the story through colour so I had solid guidance, but at the same time I was able to provide my own creative interpretation and at times break away from his initial verdict (e.g. making shop blue rather than yellow). I really enjoy the subtly of colour at times and think this is a great reflection of my personal feelings and approach to colour grading. I look forward to seeing it alongside the sound to see the final interpretation of the content throughout the film.