[Tig] Post your movies on Tig

Barend Onneweer raamw3rk at gmail.com
Sun Feb 5 15:01:13 GMT 2012

I'll start...

I served as colourist and vfx supervisor on "Shock Head Soul" - an
experimental film by Simon Pummell, a UK/Dutch co-production shot and
finished in The Netherlands. It's the second feature film I colourgraded.

The premiere was at the Venice Filmfestival last september, screened at the
BFI in London and CP:DOX in Denmark before the Dutch premiere last week.

Trailer: http://www.youtube.com/watch?v=pFHz99-z2hs
Review: http://www.variety.com/review/VE1117945999

The film was mostly shot on a Canon 5D, with greenscreen elements shot on
Red MX.

The film was cut in Prores and then I conformed to the original h264 from
EDL in Assimilate Scratch. All the 5D material was then denoised and
sharpened in After Effects using mainly Neat Video. Personally I was
shocked how good the 5D material looked and how much detail we could
retrieve through sharpening. Neat Video has a really good sharpening
built-in that doesn't produce the usual ringing effect around details.
Reinier van Brummelen (who also shoots with Peter Greenaway) was the
cinematographer and he was really able to squeeze the most out of the
camera. My guess is that because everything was shot at f1.4 (not a lot of
detail in the backgrounds) the h264 compression had a relatively simple
task and therefore enough bits to spare for the areas that are in focus. I
only encountered moire in 3 or 4 shots, which was easily fixed. I rendered
the denoised 5D material to 10-bit dpx's and brought them back into
Scratch. The difference was pretty dramatic. I could easily pull keys for
selective grading and the blacks came out a lot cleaner.

I used Scratch for data management to send shots out to vfx, bringing in
temp effects and replacing with final renders. Effects work was mostly done
in After Effects for greenscreen comps using HDR panorama backgrounds. The
composites were rendered out with a separate matte so I could easily tweak
the grade of the foreground separately from the background which worked
really well.

I graded on my own Scratch system on a JVC RS-60 projector calibrated to
Rec709 with Cinespace / Davio / Hubble. I delivered Rec709 dpx to the DCP
creation company where it was converted to P3 using a LUT and we checked
the DCP on their Barco before sending it off to Venice. Grading was done in
about 10 days. During the process we always assumed we'd end up putting
grain back in. But in the end we chose to keep the image clean, and we only
added a tiny bit of grain to eliminate the risk of banding showing up
somewhere down the line.

This film was done on a ridiculously low budget - but the fact that we
could pull this off from my 'basement' studio is an interesting

The film gets a small-scale release in The Netherlands in April. Don't know
about international release, but there's an international sales agent in

Barend Onneweer
The Netherlands

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