Here’s an interesting look at the magic that goes into making movies look the way they do. The video above shows how scenes in one particular movie looked straight out of the camera compared to the finished version after color grading. It’s like the video equivalent of the before-and-after post-processing examples photographers often share on the Web.
[vimeo_video] 116019668 [/vimeo_video]The footage was shot using a Sony F55 at 4K in LOG and was then color graded by Taylre Jones of the Kansas City-based Grade. Here’s Jones’ explanation of what LOG format is (in layman’s terms):
The image is shot in a LOG format on an F55. In simple terms, this captures the image to maintain details. As stated, this allows me to be able to stretch the image in more creative directions.
You might compare it to winding a flexible 100ft extension cord up into a small circle. If the film only calls for needing 65ft to tell the story I have the ability to manipulate the cord and pull it out to 65ft. When cameras don’t shoot in their LOG or flat modes it is sort of like taking the flexibility out of the cord. It’s pretty much stuck at being 100ft long.
Jones also says that each of the shots you see above took around 10-15 separate adjustments. They were grouped into 1-4 sweeps for the sake of brevity.
From Reedit
Additional Info:
“The House On Pine Street.”
This film was colored by Taylre Jones at Grade located in Kansas City.
Director(s): Aaron and Austin Keeling
Director of Photography: Juan Sebastian Baron
Colorist: Taylre Jones
To learn more about the film:
thehouseonpinestreet.com/
Music is from The House On Pine Street film score.
jeremylambmusic.com/
nathanmatthewdavid.com/
