LONDON — Directors Cut Films (http://directorscutfilms.com) has invested in a Baselight (www.filmlight.ltd.uk) Two color grading workstation with a Blackboard 2 control panel. The independent post house primarily works on premium long-form television projects, dramtic series, documentaries and feature films, with increasing interest in 4K and HDR.
Directors Cut, based just outside Soho, is home to more than 30 suites, all connected through central networks with over 256 terabytes of shared storage.
“Being owned and run by ex-editors, we know what is required to meet and exceed expectations in post,” says senior colorist Andy Elliott. “We felt it was the right time to invest and embrace HDR and 4K workflows. HDR in particular produces much more of a positive visual impact, with real benefits in the immersive experience for the viewer.”
Recent projects graded by Elliott include biographies of Cher and Elton John, an investigation of the Bauhaus for BBC4, and Sir David Attenborough’s call to action Climate Change: The Facts. Elliott points out that such programs frequently bring together footage shot on multiple different cameras and formats, often in less than ideal circumstances. The task for the colorist is to integrate all of the footage, as well as create a coherent look that reflects the story the director wishes to tell.
“The pace at which I can get through a film has improved, so I have more time to refine the look,” says Elliott. “And with the AAF workflow, the grade is not baked in, so it is infinitely tweakable if needed. If there is, say, an additional interview, the grade can be lifted from another shot and dropped onto the new one, straight on the editor’s timeline. This is really useful in current affairs, where we can be right up against tight transmission deadlines.”