Monday, February 17, 2020

MOLINARE COLOURIST DUO FEATURE IN BSC MAGAZINE

 

Article originally appeared in the 'Live and Let Di' section of the British Cinematographer Magazine

Senior Colourist Andrew Daniel performed the DI on the BBC2/Netflix series, Giri/Haji, written by Joe Barton, produced by Sister Pictures and shot on Sony Venice by DP’s David Odd BSC and Piers McGrail. The intricate soulful thriller explores the butterfly effect of one murder across London and Tokyo. With action moving between two cities and traversing multiple time frames, Daniel and the two DP’s were keen to have a naturalistic grade for the main body of the show, which didn’t affect the cinematographic set-ups to heavily. For them, it was all about capturing the mood of Tokyo and London without ever ‘over-egging the pudding’. “When it can to the flashback, we wanted to create strong looks for the three different moments looking back”, Daniel says. “Each was carefully crafted to never feel forced or out of place. The Sony Venice allowed all of the range for us to achieve this working straight from the RAW footage”. Daniel also worked on the Netflix feature documentary Tell Me Who I Am, directed by Ed Perkins, shot by DP’s Patrick Smith and Erik Wilson. After previously grading Ken Loach’s last two films Jimmy’s Hall and I, Daniel Blake, Head of Grading Gareth Spensley returned to the DI suite for the 2k grade of Sorry We Missed You, shot on Kodak S16mm film by DP Robbie Ryan BSC ISC “Ken wanted to stay truthful to the light and colours of the locations”, says Spensley. “To achieve this we chose the ACES workflow pipeline and designed a LMT that subtly introduced contrast without colour crosstalk”. “We wanted to keep the aesthetic of this film with within the general feel of Ken’s considerable canon of work. As I have done previously when working with him, I kept the grading within the style of laboratory printer lights – favouring global exposure adjustments to add and remove the density in the scans, whilst taking advantage in digital grading of anchoring the blacks. We used shapes and secondaries to control mixed colour temperature moments and changes in exposure between interiors/exteriors”.