Drones, Docs and Dojos

So we’re entering another week of lockdown and people are getting frustrated and stressed, I’m not going to suggest what people should be doing or things to do to keep positive or anything like that, everyones circumstances are different and there is no one fits all . But on the upside the film industry is working and there appears to be a lot of work out there.

Things do seem to be very last minute and a lot of stuff is being rescheduled and pushed back even as I write this another shoot I’m on has been moved for the third time but the industry is moving and that’s not nothing.

So what have I been doing since my last post. Well, not a huge amount to be honest there’s been a few day work on Dramas and corporates but a lot of them keep getting moved due to the current situation. So to keep myself sane I have been going for evening runs and learning how to play Dungeons and Dragons. Anyway back to the film stuff, I took my drone out to soldiers point and the Cooly mountains for a practice run then brought the footage into Davinci Resolve and used Lookdesigner by colour lab to try out different looks

And when not shooting stock footage on my drone or working on corporates or dramas, I’ve been working on a few personal projects. The edit for my documentary “In The Shadow of The Bull” is very close to being locked. This doc has taken me years to get near the end of and has broken my heart more then once but it’s nearly there, we’re about to enter the scoring and grading phase and I’m looking forward to getting it out there. Hopefully there’ll even be an “in person” festival run.

A Still from interview with Alex Meehan of the Namiryu Dojo

I’ve also started a new project, a documentary on martial arts namely Bujinkan with the Bujinkan Namiryu Dojo. The Doc is about the evolution of the art from ancient Japan to modern day, it’s place in western and modern society and the people who study the art. I have been training there for four years now and aside this is a subject I am passionate about it’s more then an excuse to study more about the art. Last Wednesday I shot an interview with Alex Meehan the Sensei of the dojo which was absolutely fascinating. here is a still from the shoot showing the RAW Footage from the RED Scarlet Dragon and the LUT I designed for it in Davinci Resolve. The LUT is a Kodak5217 Vision 2 200T film stock emulation printed on 2398 modern stock. ( +4 C, 0 M, -3 Y).

For more info on current projects or to discuss new ones feel free to get in touch. I’m always looking for things to shoot or colour, I’m especially interested in shooting more drama at the moment.

fionagraham@singlecellfilms.com

An Interesting Few Weeks

So it’s been an interesting few weeks, spending some time in a remote part of the country I thought would be great for getting my course work done in a relaxing setting while spending some time with my family.

Day one the phone mast in the village went down knocking out both phone and internet for four days, so no chance to get any work done in the first few days, (for some people this would be relaxing but the stress of falling behind or to getting something done is not good for me). On top of that later in the week the muffler box on my car detached from the exhaust and my car spent the night in a garage and my phone went for a swim in the sea because while stand-in knee deep in water I just had to take a photo.

Back to Dublin and I then managed to give myself a black eye after a shoot trying to fold a 6 foot collapsible back drop, not easy when you’re 5’3. And after another shoot on Thursday I can relax into the weekend and focus on some editing and colour grading.

So what’s new. I finally sold my Ephonix MC colour grading control surface and have replaced it with the Ripple Tangent. There are a number of reasons for this, the main one being that the MC Colour is not compatible with Premier Pro and that is my main editing software. Avid and Adobe just do not get on.

Ripple Tangent

Reason number 2 is that the tangent is portable and runs off USB so it’ll be easy to have on set or when I need to get work done and travel and reason number three is it works great with Davinci which I use for colour grading and I have to say I am incredibly happy with it. Here is a few looks I created last week while using it.

Fiona graham, colourist, duo tone look, colour grade presentation
Duo Tone Look – Fiona Graham
Fiona Graham, Colourist, muted colour isolation look, colour grade presentation
Mued Colour Isolation Look – Fiona Graham
Colour grade based on film spectre,
Fiona Graham Colourist, Colour Grade Presentation
Warm Tones (Based on the film Spectre) – Fiona Graham

I’ll be offering 3D LUT design and Look design and presentation on my website soon but more on that later.

3D LUT and Look Design

Ok so today I am launching an updated website, Ive got a new logo which I’m much happier with but more importantly I’ve added a section to include a new service. Grading, 3D LUT and Look design

So what does this mean. I’ve decided I’m going to open up some of the work I do on my own Cinematography to the public, if they want to avail of it. These days colour management is so important and with budget and time constraints it can easily get swept aside but colour effects how your clients and viewers perceive and feel about your work. This applies to all audio visual projects from features to adverts, music videos, docs, anything.

All cameras have a ‘look’ or ‘LUT’ (look up table) that they apply to the footage they shoot. It’s one of the reasons people will argue for one camera over another. However the majority of cameras these days give you the ability to shoot in RAW which is a flat image with no ‘look’ on it, the reason people shoot in Raw is because it gives you more options in post including more ability to control the look of the image. You don’t want your end product to look like everyone else’s.

A Show LUT is a single LUT designed to control the look of a film, TV show or whatever project you are doing. It is used on set to monitor the colour and look of your production and insure your look is consistent. It is then used in post as the basis for your grade.

For Camera people there are plenty of LUT packs that you can buy out there but they’re generally a ‘one size fits all’, they tend to not give you really good film stock emulation or truly get the look you want. I can design custom LUTS based on the camera you are shooting on and catered specifically to the look you want.

The way this process works is that you will come to me looking for a look, LUT or colour space designed for your project. I will talk to you about the look you are going for we will discuss the tone and feel of the project, reference images and intended delivery.

I will then present it to you in the following format:

If you are at the point that you are just building your pitch or presentation these are a great addition to you look book.

Once we work out any tweaks or changes to the look I will then reissue this presentation along with the reference images and two .cube files, a 65 and a 33. (The 33 is for uploading to your camera and monitors for on set monitoring and the 65 is only for post as 65 is too big a file for on set monitoring but they are the same LUT)

It is important to have a LUT that is 100% correct because it needs to give you the look that you want without effecting the exposure of the camera.

This is a process I use for every project I shoot and it really does make a difference.

If you have any questions or queries email me at fionagraham@singlecellfilms.com

Upgrading My Grading

grading wheels, colour wheels, davinci
Colour Grading Wheels

Ok so my last blog post got deleted so ill try to rewrite it as was, with a few minor corrections,

So With Covid slowing everything down I’ve decided to to take a course while I still have the time. This time I’ve decided to go with the ‘Summer Looks Academy’ with https://www.colour.training/ taught by Dado Valentic.

I first met Dado in London at a REDucation course in CVP. I was looking for a course to help improve my cinematography and thought learning everything there is to know about the camera I was shooting on was a good place to start. Dado was the guest speaker on the second and third day who was coming in to talk to us about Colour Science.

During this talk he said something that caught my attention. “If you were to look at the sun without the ozone layer it would actually appear as a shade of green not yellow, The ozone layer acts like a filter and the reason that the sun changes colour as it sets is that the density of the “filter” between you and the sun increases as it sets”. This was connected to the reason that there are twice as many green photocites in a cameras sensor then blue or red because the purpose of the sensor is to capture as much light as possible. When I heard this I thought ‘this is what I should be learning’ and a few months later I returned to London to do my first course with Colour Training in Colour Managment.

After we were presented with our certificates a few of us went to the pub where I nearly lost my certificate when it caught fire in the smoking area but that’s a different story.

This time I’m hoping to delve deeper into the design of Looks and LUTs and create some cool LUTS. I’m excited about doing the course, I really want to develop a look for a film or series from scratch and see it come to life on screen rather then do it all in post but I’m also nervous cause there are some really heavy hitters in the group that work on really big projects. 

Anyway lets see how it goes.