“When discussing the dos and don’ts of HDR,” he says, “I would advise not placing actors in front of windows as the extra brightness that can be seen in the sky might make the actor appear less visible.”īut the technology and software currently used for grading helps filmmakers pull off impressive effects through color, Shoul adds. Great colorists are happy to work with any lighting approach, Shoul adds, though he cautions that some have hazards of their own. “Last Night in Soho” Courtesy of Parisa Taghizadeh/Focus Features It’s far quicker for them to change a lipstick color before filming than me for a 10-part TV series or film.” “We try to get the whole production team in for these tests so that the art department, costume and makeup can see how the lighting and intended grade affect them. “Then we’ll test cameras, lenses, costumes, fabric and wall colors, hair and makeup,” Shoul says. “If possible I like to have read the script before testing begins and discuss the shooting schedule with the DP, so we can find solutions for any scenes that might prove difficult.” Common challenges shooting day for night, filming in locations where the crew can’t add atmosphere or having certain colors the filmmakers want to change for story purposes or complex VFX sequences. Planning and coordination from the earliest stage is the optimum strategy for heading off surprises, Shoul says.
But of course, he adds, “I do composite new skies or curtain detail from other takes or stock images if possible.” If the cinematographer does have a strong look in mind, Shoul adds, they may want this applied during the dailies process to ensure the studio or streaming executives understand their intent and are in agreement before the final grade takes place.Īt the same time, says Shoul, there are still some limits to the magic of post work, and he cautions against embracing the old saw “we’ll fix it in post” as a solution to every unexpected problem arising during a shoot.Įven a master colorist may not be able to correct under-exposing after daylight has diminished and footage won’t match shots filmed earlier, Shoul says.Īnother hazard best fixed on location is overexposing details in highlights, often through a window or in the sky.
“Ideally the lighting, set design, costume and makeup will go some way in defining the cinematographers’ vision for the film, but many would like to retain the ability to change this during the grade.” “The grading software we use is so powerful that the look of a film can be greatly changed after shooting,” he says. While acknowledging that color grading can take a film or series in a host of directions, Shoul says it’s not essential for directors and DPs to know exactly what color tones their work will have before beginning production.
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