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May 2018

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Page 31 of 43 30 POST MAY 2018 DP/COLORIST RELATIONSHIP When the camera test became available, he and Judy found that "hours turned into days as we played with a range from dramatic low-light looks to traditional '80s-'90s sitcom looks. Literally, ev- eryone from the produc- ers to the DP to Dan and I and the rest of the room had a say." Once production got underway Simmons, shooting Rec. 709 on the VariCam, "typically got 90 percent of the look in camera," says Dalby. "The Panasonic camera and subdued lighting add grittiness" to scenes before post begins. The two colorists, who collaborated on projects prior to reunit- ing at DigitalFilm Tree, spot an episode together, divvy up scenes then use Resolve's live chat feature to communicate and track each other's progress. "We turn over our first passes in about five hours with each of us working on an area of the show," says Dalby. "That time includes the first beauty touch ups and Resolve OFX tools. With Resolve, we are literally able to have the same project open to as many colorists as we want, working at the same time. The only shot not available to me is the one the other colorist is currently doing. As soon as I step off a shot it's saved, and Dan and I can continue however we'd like." "We could all feel that the show was some- thing special, that it had a special energy to it," says Judy. "To see it come back and get the reviews and ratings it did has been really gratify- ing," adds Dalby. BOCHNER/PETERSON — JANE THE VIRGIN Sim Los Angeles ( senior colorist Todd Bochner and DP Lowell Peterson, ASC began their partnership on Desperate Housewives, which ran for eight seasons, and reunited for Jane the Virgin, which recently was just renewed for a fifth season on The CW. Dan Judy John Simmons Rick Dalby Developing a look for Roseanne, 20 years aer it originally aired, was a challenge. The series is shot on Panasonic VariCam 3700 cameras. Roseanne is graded on DaVinci Resolve.

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