On my recent trip to New York, I met with a few potential colorists for the film and managed to find our guy, Seth Ricart. Coloring the film will be one of the final steps in this seemingly epic process, and I can't wait to get started. I've always looked at color more of a "finishing touch" than an integral part of what makes up a movie. But, over the past few years of working with digital video and too many hours spent color correcting digital photos, I've learned that color can have a massive impact in telling the story.
Most preliminary color decisions were made by myself, Marie (production design), Zak (cinematography), and David (costume design) way back in preproduction. This formed the basic palette for the film in terms of where we shot, how we lit, and what was in the frame. After transcoding all of the Red One's RAW files to ProRes for an offline edit, the picture was a fairly good but generic wash. That flat looking footage is what we've been viewing and editing with for the past four months. Now, we are closing in on locking picture and reconnecting with the original RAW footage so that we can clearly define the aesthetic of the whole picture.
Just like the music, writing, and cinematography have helped to define the tone of the film, so will the final color grade. I'm so eager to get this process started because I feel like it's something I've been having to dance around for the past few months. The picture looks great, of course. But this is the place where things can really be defined, heightened, muted, and punched up. For me, music and color are massive parts of a film's ultimate tone and will have a huge impact on both how the film is taken is presented and how it is processed by the viewers..
As we move into the color grade full swing in early January, I can provide more details on the process. I'll also introduce you to Seth, whose work samples are posted throughout.