Archive

Wednesday
May102017

The Music of the Gospel

Sony F55 - 4k RAW - on Anamorphic glass. 

The Church of Jesus Christ of Latter Day Saints

Wednesday
Apr052017

Abandon Gravity

This one took some serious grading to get where I wanted it. I'll have to put together some BTS video to break it down. Pretty happy with it. 

Thursday
Mar092017

New 2017 Color Reel

This is the condensed version. To see more click on the "color grading" tab

Monday
Mar062017

ScottDW Color Grading SuperCut - 6 years in about 6 minutes

 The first time I worked with Scott Winn was in 2011 on a short film that he DP'd called Mr. Bellpond's Masterpiece.The next year I started coloring his series, Dr. Fubalous. After that Fruit Ninja went huge and the rest is history. Scott has given me more leeway in discovering a grade than most clients I've worked with. His material is always fresh and entertaining, always shot and composed with skill, truly great footage to work with. Realizing a vision that compliments the world he's creating in each video has been something I really look forward to. Everyone I work with is different in their own way. With Scott, he always knows what he wants, but he's willing to give me some room to enhance things even farther. It's been a pleasure working on these and I can truly say, all these shots represent my very best work at the time. I'm constantly refining my process, but its really moving for me seeing all this work back to back like this because it represents hours, weeks, months, and years of hard dedicated work. Not just my own time, but all the talented people that become part of this world. Scott works harder than most people I know to make these things. It's been great working with a true artist. 

 

Wednesday
Feb152017

Nathan Pacheco - Forever

February 2017

This was shot by Wesley Johnson on the Arri Alexa. I first worked with him a couple years back on another project, but I recall this discussion we had during one of those sessions, on the difficulty of brown. Defining it I mean. As a colorist I can shift things around pretty freely. So brown is kind of etherial. What makes something brown and not yellow or green or red? It's kind of the perfect blend of all those, but when you hit it, it's got this richness to it. 

The conversation's stuck with me because I guess I spend a lot of time agonizing over the shadow tones in most projects I color. The cardinal sin is too much magenta. Not completely sure why, but that's generally an easy place fot tones to shift. So acheiving this brown tone on projects where it's needed has been a personal challenge of mine for the past few years. It feels good to nail one down for the DP who originally influenced me on the subject.