In the context of time, 37 seconds isn’t much, but for Yuma Takada, it’s the difference between living a normal life, versus the one she leads as a person suffering from cerebral palsy. This coming of age movie tells the story of an aspiring, disabled manga artist as she struggles to overcome an overbearing mother, a devious and capricious friend, and the sad memories of a childhood without a father, on her way to achieving her artistic dream and finding her freedom.
The eponymous movie is director Hikari’s first feature film, and packs considerable emotional punch. A little background; Hikari and I have worked together for the better part of a decade. Back in 2012 I graded Tsuyako, her award-winning short film, and in 2013 A Better Tomorrow, which premiered at Cannes later that year. I’ve always loved Hikari’s passion and her desire to tell difficult, gut-wrenching stories. With 37 Seconds beautifully photographed on location in Japan and Thailand, I couldn’t wait to get stuck into the visuals, but first I needed to understand Hikari’s vision and the motivations of Yuma as she navigates a world of adult comics, drag queens and a raging intergalactic war!
From script to casting and back again
Hikari’s bold decision to cast Mei Kayama, a young actress with cerebral palsy, in the lead role is perhaps serendipitous in hindsight, as she adds a dimension to Yuma that perhaps is only possible with an actress who struggles with each movement, every take. “Mei rides an electronic wheelchair, which makes blocking quite challenging. Since she was a first-time actress, we planned for 45 shooting days which was 10 days more than what we would normally schedule”, Hikari recalls.
What is even bolder is her decision to change course as a result of casting Mei: “The script was originally about a young woman who was paralyzed but once I auditioned Mei – who has cerebral palsy but not paralyzed (as the script called for) – I changed the story to fit her physicality.” It’s this appetite for risk-taking, as well as a willingness to adjust to new opportunities as they present themselves, that is a hallmark of a successful Indie filmmaker.
Moving with the flow
37 Seconds was produced in association with NHK, Japan’s national broadcaster. In a world where 4K TV inches closer to becoming the norm, and with NHK historically being a technology trailblazer, certain requests were made to the filmmakers. Stephen Blahut, the cinematographer, explains how this affected his choice of camera: “The film had certain obligations that meant we had to plan for a 16:9 aspect ratio and 4K deliverable.” Thankfully the movie was shot in 2018, where you could have had your pick of any number of 4K+ cameras. For his A Camera, Stephen went with the Red Dragon, a 6K camera, and a set of Cooke S4 lenses, as well as 100mm Zeiss macro lens for detail shots.
It’s primarily with this setup that the filmmakers achieved one of the most standout features of 37 Seconds, the striking photography. It is both static and dynamic, dramatic yet sensitive. Stephen elaborates: “Hikari and I discussed this early on. At the start we wanted to distance the audience from Yuma, establishing them as sort of voyeurs. (We) kept the camera back and chose to have longer takes with locked off frames. I find this method encourages the audience to actively engage and think about what is going on in the frame, rather than swiftly moving past the image. It’s strenuous and rewarding at the same”.
“As the film progresses we desired to push into Yuma’s interior space and introduced dynamic elements to the shot structure. As far as striking a balance is concerned, this came through in-depth conversation between Hikari, who is also a cinematographer, and myself. We spoke at length about the relationship from scene to scene and what we were building to.”
The primary setup worked great for the majority of the movie, but there were certain scenes were the camera and the crew needed to be inconspicuous. Stephen explains: “One particular series of shots chronicles Yuma moving through the infamous Kabukichō red-light district in Tokyo. Given the nature of the environment it was essential to air on the side of caution. With a background in street photography, I traveled to the district to get a sense of the space. Hikari and I scouted the location, establishing both angles and a path for the lead actress to travel so we could be as efficient as possible on the day of the shoot. We paired down the personnel to a skeleton crew of myself, the director, and a few other team members that would hold at a distance. We opted for a Sony AS7ii paired with a DJI Ronin S Gimbal. The small package made us look like a documentary or maybe even made me look like a tourist. We were in and out in under an hour!”
A Look For All Seasons
Part of securing financing for any movie is the ‘package’ put together for potential investors. This typically includes the logline and memorable sound bites, as well as brief biographies of key cast and crew. What always stand out though are the glitzy pictures used to convey the overall ‘feel’ of the movie. In the case of 37 Seconds, both Hikari and Stephen collaborated on these pictures, their efforts culminating in a Look Book. “It was a great project for me to work on because I became acquainted with (Hikari’s) intentions, and an invaluable document in my opinion for the director, the colourist, and cinematographer. It can really establish a clear touch point for the film”, Stephen reasons.
Early on, Hikari envisioned her movie going through three different Looks, or phases: cold Tokyo, representing Yuma’s stagnant situation; passion scenes, which included Yuma discovering Tokyo’s night scene and her experience at the Love Hotel, and earthy tones, as Yuma grows as a person through knowledge and experience. Each look would reinforce Yuma’s journey and state of mind.
Before a single frame was shot, Hikari, Stephen and myself brainstormed these ideas over a Skype call between Tokyo and LA. There were the different sections of the movie, which needed to flow in and out of each other organically, as well as specific scenes such as the Love Hotel, which would be bathed in a strong magenta light. That intensity would be pushing up against the primary camera’s colour gamut, I observed at the time.
With these ideas in mind, I was sent some early test footage to create various Looks. These included interiors under both daylight and night time conditions (tungsten and fluorescent), as well as a few shots lit to simulate the aforementioned love hotel setup. I banked these Looks and refined them over time leading up to the DI of the movie.
From Look Book to Reality
From a colourist’s perspective, a Look Book provides some guidelines. While few movies fit into neat, pre-defined sections like this, it does inform you as to how to treat certain scenes, certain situations. At the same time, the movie and the protagonist are complex. Their emotions go on a roller coaster ride and take us, the audience, with them. Stephen agrees: “We wanted to keep the look book in mind when shooting the film but felt no obligation to adhere to the system we created. It really became more of guideline in the end”.
With ideas swirling, I thought about the stylized look of manga characters, with accentuated, inky lines and strong contrast, not dissimilar to a Japanese person’s slick black hair against skin that is typically paler. Getting that contrast right is tricky; traditional ‘linear’ controls such as lift, gamma and gain can easily lob off shadows and dock highlights on their way to adding contrast, and an S-Curve can stretch out the mid tone, leaving it ‘thin’. Therefore, I turned to Soft Light. This blend mode is based on the relationship of shadows and highlights to 50% grey; anything lighter than mid grey gets brighter and anything darker gets heavier. By starting off with ‘gentle contrast’ in each scene, I could use a Soft Light and opacity to control the ‘inkiness’ of the shadows, giving me progressive contrast and snappier highlights. Then if I needed a shot to be brighter or darker, I simply used overall gamma to bounce the mid tone up or down, without affecting the black/white anchor points or relative contrast. This proved crucial as we continued to refine the tone of the film; “Mei had much more of an innocent look than I anticipated, and her disability was very different than what it was in the original script, so we went more towards a brighter tone”, Hikari recalls.
To complement my blending mode approach, I decided on a ‘bias-based’ technique for the colour treatment. This forgoes the ‘typical’ clean whites/blacks approach, which all too often can suck the life out of a picture, stepping over the subtle differences of shadows tinting one way while the highlights sway in another direction. By choosing to bias the colour of the image, you respect the original photography, yet augment it with the style that is required.
For this I turned to Curves. For the majority of Tokyo scenes, I used the Blue/Cyan curves, particularly the -> Saturation and -> Density curves to gives those colours extra depth. These adjustments bend the image towards colder tones, without the coolness riding roughshod over the warmer colours, which is so important for healthy looking skin tones. Similarly, for Thailand, I used the Green/Yellow curves to capture the beauty of the jungle and the stickiness of the humidity, again keeping the other warm colours at a baseline that made sense.
By using this bias based approach to grading the movie, we were able to control how much ‘Thailand’ we wanted, or how much ‘Tokyo’. For example, when Yuma returns home in the end, Stephen wanted her to bring back a bit of Thailand with her, to signify the warmth she was bringing back to her mother. I simply used my Thailand grade and picked 50% opacity, and now we had a subdued warmth as we combined the original Tokyo look with some ‘heat’ from Thailand.
Forcing a scene that is warm earlier in a movie to a colder tone later on is something we see repeatedly, and many times it looks fake and forced. This technique is often used to enforce the emotional state of the characters, or to express the overall mood of the scene. However, in the scene where the mother confronts Yuma after going through her possessions, the tsuchikabe walls in Yuma’s house can’t suddenly turn blue because she’s having a confrontation with her mother. Did someone swap out the light bulbs?!
So I went with the photography of the scene, which was more naturally lit but also had a strong key light. I increased the gain significantly, while dropping the mid tones deeper, which has the effect of thrusting the characters into the limelight. Then I pushed some very strong vignettes, rotating them from shot to shot to make sure they weren’t hiding any faces. The vignettes serve to separate the characters from the background, and to heighten the conflict between them.
For the Love Hotel, we can see a clear thread between the Look Book, the early tests we did, and the final result we ended up with. The strong magenta is a bold choice, and a welcome one. The colour has become anathema in grading circles, and in my mind that is a problem, as this gorgeous colour can represent passion just like the colour red, but at the same time adds overtones of sleaze and ambiguity. The magenta that bathes the Love Hotel is a culmination of the use of that colour, as we build up to it from the point where Yuma begins to discover the Tokyo night life. From the scene where Yuma encounters the drag queens, to her detour into the famous Kabukichō red-light district, Hikari and I had a few arm wrestles over how much magenta we should ‘creep in’, but in the end we both felt that its use made the picture richer and more layered.
In a final ‘twist’ to our magenta journey, we swing wildly to a sea of cyan as Yuma washes her shame in the bathroom. The saturation of the cyan against the Soft Light, dense black deliver the punch and conclusion to this episode of Yuma’s self-discovery.
Distance? What distance!
With the movie having such an unconventional plot, it should come as no surprise that the DI was anything but conventional. With the director, DP and colourist all located in different parts of the world, we needed a way to communicate our ideas and address notes over a robust feedback channel, regardless of time zone. Enter Frame.io, a leader in the world of cloud-based video review and collaboration.
From the very first Skype call I had with both the director and DP, to the remote review sessions, to the exchange of media through Frame.io, this is a project that could not have been executed using the ‘traditional’ way. As a big fan of the service, I’d used Frame.io on countless smaller projects (shorts, music videos), but never on a feature. A 4K feature, and one that would require regular uploads, deliveries to and from multiple vendors, and a paper trail for every step of the way. So we rolled up our sleeves and took the plunge.
On studio pictures, remote services between your creative team members is not a big deal, and that’s because the client pays a pretty penny to have those services available to them. But what about the independent filmmaker, who often has similar demands, but pockets that are more holey than deep? That’s where services like Frame.io enter the picture. Hikari recalls the transition to working this way: “At first it was challenging because of the time difference. But then it became so much easier because of the ease-of-use of Frame.io; I was able to review all the reels as they progressed through colour, share my thoughts down to the specific section of the image, and receive feedback from Milton, our colourist. Being able to work interactively this way meant that I could still work closely with Milton, even though I was in Japan, which was wonderful!”
Our utilization of Frame.io didn’t end with remote reviews. After delivering VFX pulls to multiple vendors through Frame.io, and realizing that it made the process so much more efficient, we moved more and more of our day-to-day activities to Frame.io; VFX deliveries back to us (versus hard drives), reel turnovers, complete with Avid Bins, media and offlines, and communication between team members all benefitted from the process. We reviewed entire reels. Created manifests out of CSV exports. We came 90% close to approving the final movie, all while achieving phenomenal transfer speeds. We became so comfortable with the process that uploading hundreds of gigabytes of data a day became common practice.
The strength of a service like Frame.io is not merely the wonderfully thought out and crafted tools that the company offers, or even the open Application Programming Interface (API) that allows you to customize the service to your heart’s content. The opportunity comes in the risk that it encourages the filmmaker to take, to replace ‘traditional’ processes with disruptive ones, which streamline the moviemaking process as a whole. For that we thank the hard working NY-based team at Frame.io.
Remember to smile!
Just like Hikari’s decision to take a gamble on Mei, and change the script to reflect her reality, Hikari’s message is bold yet nuanced: “Don’t hold back. Allow experiences to happen, because you never know what doors they may open. And remember to have fun with it all”. I don’t know any filmmaker worth their salt who would disagree with that statement!
37 Seconds Premiered at the 69th Berlin Film Festival to critical acclaim. It won both the Audience Award as well as the CICAE Art Cinema Award under the prestigious Panorama section. It is also an official selection at the Toronto International Film Festival 2019. The movie was produced by knockonwood, Inc. Films Boutique has picked up sales and Netflix is the worldwide distributor.
All images courtesy of Knockonwood Inc.
Randal Kirk skates down familiar territory in his debut feature “DGK: Parental Advisory” – a ghetto fairytale that takes place inside the mind of DGK rider Baby Scumbag, aka Steven Fernandez. The movie combines music video-type narratives with some of the most amazing tricks performed by DGK riders. “The individual stories are abstract, much like a music video, but as a whole they tell a story”. Randal’s idea of combining these two normally different elements was ambitious, and I had the pleasure of helping him craft those images into a finished piece.
“DGK: Parental Advisory” is different from most skate movies that preceded it, both due to the format as well as the story it tells; “DGK is a unique brand in that all its riders have been dealt bad cards in life. Skateboarding became their golden ticket out of that life”, Randal told me when we sat down to discuss the look of the movie. “I wanted to tell a story that captured the heart and soul of the team’s riders.”
The cinematographer that stepped up to the task was none other than Salvador “Vallo” Lleo, someone I have collaborated with many a time before. True to his reputation, Vallo gave us some beautiful, cinematic sequences: “I knew my pictures were going to be intercut with cool-looking fisheye skate board sequences…so to create contrast I steered towards conservative framing and story telling”. But that didn’t mean that Vallo had it easy. “For the exteriors we had no permits and there was a lot of guerrilla-style shooting with the camera on the shoulder, the lens wide open and praying for an image…it brought back memories of my early days as a young film-maker.”
Tools of the Trade
Three Red Epics were used on this movie for the tons of coverage that Randal insisted on. “His energy and passion kept everyone going in the hardest of times”, recalls Vallo. His lenses of choice were the Cooke S4s and for his lighting style, Vallo didn’t have to look far beyond the brand’s name: “Dirty Ghetto Kids is the name of the company. The texture had to be gritty and rough. High contrast situations, mixing vibrant temperatures and super-stylized lighting design”.
Vallo has long left his trusty tripod behind and replaced it with his new Technocrane. It’s ultralight, super fast to move compared to the standard Supertechno and great in tight spaces and remote locations. “This crane is so great and easy to work with that there will be days where the camera would not come off!”
As practical as a crane is, it’s the sweeping shots that it helps capture which make it an amazing storytelling tool. In the last shot of the movie, a wounded Stevie Williams steps out of an ambulance and skates away into the distance. As the crane goes up, dozens of kids skate after him with a gorgeous Downtown LA in the background. “It was a one take shot. Magical! Then Randal next to me shouted ‘OK kids…it’s a wrap!!’ Man, people went nuts! All these kids were hugging me and thanking me for the best experience of their lives. At that moment, it all made sense…and for me, that very moment was the coolest thing I have ever experienced. All the pain and suffering melted away. It reminded me of all the reasons why I came into this business. Not for the money, not the glamour or the fame but for these amazing happy moments that brings people together.”
Glossy with a Twist of Primaries
My approach to colour timing DGK was developed with Randal on previous collaborations, but this time with a twist. Randal explains that “over the years I’ve developed a glossy look for all of my videos that glamorizes the moment…This approach was appropriate for this piece since as a brand DGK has lots of bright and glossy colours in their designs, mixed with edgy/controversial images, much like the art I have made in the past.” The way I translated Randal’s vision to the screen was by giving the music videos a polished, poppy look with deep saturated colours and snappy blacks. However, this time I explored washing entire sequences with primary colours that existed in the pictures, giving them a certain vibrancy and unique signature look. The four images below show this approach.
There are many ways to achieve this effect, and the most basic one involves ramping up the lift/gain for the colour that you want to add, or even using printer lights (actually *subtracting* the colours that you want since you are theoretically working on the negative). This is certainly an option, but for me leaves you with an image which lacks color depth. Adding a wash doesn’t mean that every other color should be suppressed.
Instead, my approach was to use both blending modes and curves. After balancing the image, I threw on a Hard Light, which instantly added contrast, bloomed the highlights and dug into the blacks. Since we were going for drama in this piece, this single action helped get there fast. From here on you are sculpting, and curves gives you pinpoint precision. I increased saturation in my Yellow curve, but then to kill off the orange that was creeping in, I also increased the saturation along the Cyan curve. This is because Cyan sits across from Red, so any movement in either direction is going to affect the opposing colour. If too much Yellow/Cyan crept into parts of the image that I didn’t want it to, with curves its just a matter of adding a break point to contain its effect. I did this in the Cyan curve, because I wanted to retain the warmth in the blacks instead of cooling them off.
Not all images lend themselves to the same approach. For example, the picture above of Stevie Williams from his piece shows an exterior setup, with lots of colourless things in the scene (concrete, chain fence). Throwing on a Hard Light completely blasts the image with too much light, and his face disappears into the shadows. It’s the wrong approach. So for this, I made sure that I kept any gain adjustments in check, while using curves to seep in both colour and gain where I wanted it. The surrounding forest was perked up by adding green saturation, while his cap was brought out by adding saturation in the Red curve. For both primaries I brought down the gamma curve too, deepening the colors and giving them added richness.
Lost Ghetto Kids
“DGK: Parental Advisory” was a dream project for me, a collaboration with two artists I admire, who are always looking at breaking new ground with every shot, every scene, every motif. In the final act, as the skateboarders navigate past the frozen antagonists to overcome the conflict in their lives, Randal sits back and reflects on the project: “I’m visually communicating how skateboarding is these kids’ ticket out of a life of crime, drugs and death. Skateboarding has saved the team riders from all the harsh realities they could have potentially faced in their lives. Through skateboarding they are now living their dreams and the dream of all the lost ghetto kids on the street.”
In a first for this blog I interview Randal Kirk, the director of the movie in Lost Ghetto Kids. Here you can get the scoop on the story development, Randal’s ideas on creating memorable images and how it was to work with the army of kids in “DGK: Parental Advisory”.
Noel Gallagher steps right into a domestic argument as the referee in “Dream On”, the fourth music video from Noel’s debut album “High Flying Birds”, directed by Mike Bruce. The noir-themed boxing match features some well-known faces, including stunt actress Zoe Bell (Kill Bill, Inglourious Basterds) running husband Troy Mittleider ragged around the ring, with Omar Doom (Inglourious Basterds) and Brent De Boer (Dandy Warhols) among the spectators.
“Dream On” is my fourth collaboration with Mike Bruce, Salvador Lleo and the rest of this talented crew. Both the black & white look and camera motivation for this music video were clearly inspired by Scorsese’s classic “Raging Bull”, but it was “The Hurricane”, shot by cinematographer extraordinaire Roger Deakins ASC, that Salvador referenced most for examples of fighting styles. As the colourist, my challenge was to capture that dynamism in the grade but at the same time retain the elegance and subtlety in the images that Salvador had captured.
Lights, Camera & Scissor Lifts
“Dream On” was shot at the Hollywood Rentals stage up in Sylmar, a place where Cinemtographer Salvador Lleo tries to take his projects to whenever possible: “They have a huge array of grip and lighting gear, and the head manager Luis Barroso always treats us really well and is very accommodating with budgets”. Amongst his lighting package were nine 6K Space Lights, rigged 20′ above the ring with full silk. These lights were then wrapped with duvetyne to create a massive soft box, with the boxing ring acting as a kind of bounce light for the actors. “There aren’t many ways to light a ring other than from above since the camera is moving all around the set”. Rounding up the lighting setup were multiple old school 1K photo floods in the background to create depth, as well as four 5Ks on the floor with large chimeras for fill.
In terms of cameras, Salvador used the Red Epic paired with Cooke S4i lenses for nearly all setups, except for the slow motion shot right at the end of the video that was captured using the Diablo CAM at 800fps. “Shooting high speed is a painfully slow process. You need a ton of light and it takes a long time to play back the results”. Both cameras were rated at 3200 Kelvin, with the Red’s ISO set to a low 320 while the Diablo was set to 500.
Along with his super mobile telescopic 9-28′ Technocrane that has replaced his regular tripod, Salvador employed a scissor lift to create an in-camera effect of the boxer floating above the ring. Initially, this was intended to be a green screen setup but instead Salvador and the crew had the boxer lean back on the edge of the lift to create the effect. Being the last shot of the day, Troy was completely exhausted. “Troy was in real pain trying to stay parallel to the lift. I don’t think he needed to do much acting…he was really suffering!” quips Salvador. Another small victory for in-camera FX!
Grading with Zones
Another technique I often use to manipulate black and white images is based around the concept of an ‘adaptive’ zone system, or breaking up an image into a number of gradations that represent exposure values. My approach is to define separate low/mid/high sections using whatever tool is available on the colour corrector of choice (I use Ranges on the Pablo). The sum of all the ‘zones’ adds up to the total exposure of the image, from the blackest to the brightest pixel. These ‘zones’ are defined according to the level of control you need in a specific area of the image, which in turn is based on the type of look you are trying to recreate. For example, if you were to create a noir-type grade, you may decide to ‘weight’ your selections 40/40/20 (lows/mids/highs), which would give you more control in the low to mid range of the image, versus a skip bleach selection (20/40/40), which would give you finer control of the highlights. This may all sound very technical, but it’s actually very intuitive, in a large part because I use a ‘hicon’ key mode to define each separate zone, as I’m doing for my noir-look in the images below. The white/grey area defines the zone, with very little range being allotted to the Highlights region.
Each zone can be manipulated using master lift, gamma and gain. In addition to the nine control points spread across the three zones (lows/lift, lows/mids, mids/gain, etc.), I also use overall lift, gamma and gain to adjust the picture as a whole, giving me a total of twelve control points for the entire image. All of this can be achieved on a single layer of colour, giving me incredible control over the image. I also find this zone process beneficial because there is a natural ‘balance’ built into the qualification process since the zones are interdependent of each other.
The before and after images above show how I used the zones to sculpt the images in Dream On. For the crowd shots, I created a feeling of the spectators emerging from the shadows, suppressing the lows, mids and highlights separately without relying on keys of any kind. For the actual boxing shots, I made sure that I allotted most of the zone to the mid to highlight region, which gave me finer control over the skin tones. By then pulling the gain away from the gamma I was able to get some striking contrast in the skin tones without losing all of my detail in the shadows. The overall result of using this technique is a more organic look that doesn’t feel like all that you’ve done is to desaturate the image and crank the contrast!
You can check out more before and after stills in the gallery.
Also, there is a great behind the scenes little video shot by Brent De Boer himself using his Flip camera! It can be found here. Finally, Noel talks about the experience of making the record High Flying Birds in a brilliant little documentary on Vimeo.
Hybrid was my first opportunity to collaborate with John Leonetti, ASC, a great cinematographer and good friend! Looking at the images you’d never guess that half of this feature was shot in almost complete darkness, and with an early build of the Red One camera. John nailed the exposure, and gave us some great images to work with.
Hybrid was shot in the days before the MX upgrade to the Red One camera, a time when every DP was trying to get the most light onto the sensor. The lenses John picked for Hybrid were the Cooke S4s as well as the Angenieux Optimo zooms, both great lenses with very high optical qualities. The camera was rated at ISO 320.
Most of Hybrid takes place in a five-story car park. In the first half of the movie we cut between the various levels, including the office, the mechanics’ workshop and the ramps connecting each level. For these setups John combined different types of lighting: “I mixed kelvins in the practical lighting intentionally to give color separation. We mixed 3200k, incandescent with 5600, daylight and fluorescents which were cool white, blue and green.”
In the second part of the movie, a car crash that takes out the building transformer, emergency lights are triggered, and hence we called this setup ’emergency mode’. John and I decided that as we descended through the levels, the picture would get darker. This required planning, for example knowing how dark we could go on level 2 so that we still had a picture by the time we reached level 5! “You always need somewhere to go,” John would often tell me if he felt we were going too dark.
This setup meant that we ended up grading ‘hero’ shots when John was available, establishing a look for key moments in the story, and then filling in the shots around them when John had left for the day. Using this approach, we knew how dark we should be in each section before committing to grading the entire scene. You always want to use the time with the DP wisely, which is why this technique is quite common with DPs who have a busy schedule.
John is one of those DPs who really gets stuck into a project, colouring his own stills and laying them out to a Pink Floyd soundtrack! The stills were pulls from the original R3D files and coloured onset. He went further than most DPs in that he gave the stills a real punchy, saturated look. After talking about the movie, we definitely felt that we wanted to go for a strong ‘industrial’, gritty look, with rich cyans and blues creeping into the blacks, but not at the expense of the actors’ skin tones. We also wanted to bring out the ‘distressed’ look in the walls, the furniture and the cement floors.
A strong look doesn’t have to mean an overpowering look devoid of detail; I like to retain the subtleties from the original ‘negative’, and for this type of job I opted to use curves to establish a new ‘base’ instead of using the joyballs. Curves are a very powerful tool but can also be tricky, because unlike the joyballs that are compensating all three primaries at the same time (add red and you take away green/blue at the same time), curves are additive unless you manually compensate. However, this also makes them ideal for making sweeping changes to an image. For example, take the Blue → Blue curve, crash down the black point and you end up with golden blacks, just like that!
In the case of Hybrid, I played mostly with the Red → Red channel, bringing down the black point and then balancing that with the Green → Green channel to push my blacks and mids more towards blue. This is where it pays to know your colour wheel and your additive vs. subtractive way of colouring.
Now with a strongly biased base, anything you build on top will inherit those characteristics. This is when I will switch to the joyballs and master controls and add density and contrast, as well as push the mid tones to a warmer place. This teases apart the picture, giving you that colour separation that keeps the image interesting and ‘real’. I used this approach on most of the movie, except for the darkest scenes where I was trying to conserve as much of the picture as possible!
Dealing with Black
When the majority of your frame is made up of black, there is a tendency to really pull up the gain in an image to bring out anything that constitutes a picture. There are two problems with this: firstly, by pulling the highlights away from the blacks, you are exacerbating the noise level in the blacks, and that’s not a good thing. Secondly, if you push the gain hard enough your skin tones will start to ‘posterize’. Both of these are not good scenarios. What’s else can you do then?
The approach I use is a tiered one. I use the gamma to bring up whatever is visible in the picture up to a comfortable point, ie. before the noise becomes excessive. It’s important to set your pivot points so that the gamma has a minimal effect on your blacks, otherwise you’ll be lifting the noise! Then I’ll use a luminance map to select the brightest areas, and use the gain to pull out any remaining highlights.
It’s important to remember that the goal with these kinds of shots is not to create a perfectly distributed bell-shaped histogram, with lots of body and good highlights. We are merely trying to get a pleasant picture, and as long as the eye catches those highlights and a little bit of mid tone, you should be fine.
You can find more stills of Hybrid here.