Issue link: https://digital.copcomm.com/i/1536017
screens, working with titles, and creating the final animated sequence. The cut out animations for the credits were also done entirely within Resolve." According to del Sol, the goal during grading was to create a retro futuristic, tropical punk aesthetic, with Powell working his magic to bring this vision to life. Using DP Sten Olsen's show LUT as a starting point, Powell created subtleties by adding color density, texture, light grain, halation and glow. "The very first scene of the movie was one that developed the most," Powell explained. "I cooled it down a fair bit to make the blue walls pop, and the scene's wide shots, showcasing all different lamps and windows, really made the textural elements that I added shine." Powell also relied heavily on DaVinci Resolve Studio's ColorTrace tool, which allowed him to quickly copy grades from one timeline to another based on the source timecode of each clip. "With Gala editing in Colombia while I was in NYC, she used Resolve's media management to get everything down to less than a terabyte using trimmed files, and then she sent me a hard drive and a DaVinci Resolve Timeline file (DRT), which made the conform minimal. I reconformed from bins to the new trimmed clips, and then it was smooth sailing," Powell said. "If there were some changes, she sent a new DRT and some more trimmed files, and I used the same process and then ColorTraced the color from the old DRT to the new one." Del Sol added: "Given that Hadley and I were working long distance between Colombia and Los Angeles, while Elliott was in New York, being able to seamlessly exchange Resolve timelines saved us an incredible amount of time and ensured accuracy." "I love working with Resolve because it simplifies the workflow between editing, coloring, and finalizing. In past projects, transferring between different so¡ware for color grading introduced challenges like dropped frames, misaligned shots, or lost adjustments, including zooms, speed changes, and stabilization. For 'Rains Over Babel,' Resolve eliminated those issues entirely," noted del Sol. "I started using Resolve in college, and I took a class taught by Tashi Trieu, an acclaimed colorist whose work includes 'Avatar,'" she continued. "Although Elliott helped me with a lot of my class I love working with Resolve because it simplifies the workflow between editing, coloring, and finalizing. projects back then, I quickly fell in love with Resolve's intuitive workflow and how everything I needed was integrated into one so¡ware." Del Sol concluded: "I loved collaborating once again with my college friends, Hadley and Elliott, on this project. They've been integral to every short film I've worked on since sophomore year, and it was incredible to have their talent, patience, and sharp creative instincts by my side for my first feature. Their unwavering support made all the difference." Blackmagic Design 333 N. Glenoaks Boulevard, Suite 250, Burbank, CA 91502 Phone +1 408 954 0500 Fax +1 408 954 0508 Contact Us Email info-usa@blackmagicdesign.com