There were obviously some scenes within this edit that had been played around with by Aimee and Andrew so my colour graded adjustment layer was once again out of sync. So I first solved this issue by watching the whole sequence through, jotting down at which points it goes out of sync, then going back to these scenes and fixing them. A scene that I noticed had went out by quite a lot in terms of the colour grade was scene 9, as this scene was the new footage we gathered in our reshoot days. This didn't take long to fix though, I made sure to increase the temperature, highlights and contrast to get it in sync with the rest of the narrative.
After finishing the out of sync errors, I then needed to think of ways I could make these hallucination scenes more dynamic and crazy, but also reinforcing our narratives overriding themes.
(The field scene, with its final colour correction applied)
RALPHS HALLUCINATION
BEFORE FINAL EDIT SETTINGS
LUT - Amira Default LOGC2REC709
Temperature - 7.1
Tint - 0
Exposure - -0.5
Contrast - 0
Highlights - -100
Shadows - -150
Whites - 2.8
Blacks - -100
AFTER FINAL EDIT SETTINGS
LUT - Amira Default LOGC2REC709
Temperature - 20.3
Tint - 0
Exposure - -0.5/-0.9
Contrast - 11
Highlights - -100
Shadows - -59
Whites - 55
Blacks - 0
HOW AND WHY
So for this final colour grade I managed to get all the levels right by listening to feedback from Nathan. He stated that I should bring down the contrast slightly and take down the highlights so that the orange effect really took over the scene. As well as this, after listening to Simon & Nathan about making it more 'fucked up', I took this on board and thought of ways to do this. What I did was create another adjustment layer, copied the attributes from the original one, went onto the colour wheel charts of the new adjustment layer and pulled towards the opposite side of the colours that were being used in the original adjustment layer. Basically my second adjustment layer went in the complete opposite direction to the original one, giving this very surreal, pink and vivid colour to the scene. This was exactly the look we were going for as all of these scenes had something to be concerned/anxious about, the reoccuring monster. But I felt the colours also highlighted clearer now to the audience that this was indeed a hallucination, making way more sense than before.
(Danny's kitchen scene, with the final colour correction applied)
DANNY'S HALLUCINATION
AFTER FINAL EDIT SETTINGS
LUT - Amira Default LOGC2REC709
Temperature - 10
Tint - 0
Exposure - 0
Contrast - 40
Highlights - -40
Shadows - 40
Whites - 55
Blacks - 0
HOW AND WHY
So similar to creating the final settings for Ralph's field scene, I added a new adjustment layer to this scene, copying over the same attributes from the original, then I would go into the new adjustment layer's curve wheel tool setting, and pull all of the colours in the opposing direction of the original adjustment layer. This gave the scene this extremely orange and super saturated aesthetic which once again fit the scene fantastically. The exposure for this scene originally was quite high but i had to take a down a few notches to take into account this new adjustment layer and the way it affected the scene. Now this scene looks extremely bizarre and anarchic which is the desired aesthetic we were looking to achieve, ultimately resulting in this scene now feeling like an actual hallucination. This needed to happen though as in the previous colour grade none of the hallucination scenes truly felt like one, so now with this grade in, you can visually see the surreal and chaotic mayhem they're surrounded by.
So similar to creating the final settings for Ralph's field scene, I added a new adjustment layer to this scene, copying over the same attributes from the original, then I would go into the new adjustment layer's curve wheel tool setting, and pull all of the colours in the opposing direction of the original adjustment layer. This gave the scene this extremely orange and super saturated aesthetic which once again fit the scene fantastically. The exposure for this scene originally was quite high but i had to take a down a few notches to take into account this new adjustment layer and the way it affected the scene. Now this scene looks extremely bizarre and anarchic which is the desired aesthetic we were looking to achieve, ultimately resulting in this scene now feeling like an actual hallucination. This needed to happen though as in the previous colour grade none of the hallucination scenes truly felt like one, so now with this grade in, you can visually see the surreal and chaotic mayhem they're surrounded by.
SAM'S HALLUCINATION
AFTER FINAL EDIT SETTINGS
LUT - Amira Default LOGC2REC709
Temperature - 1.1
Tint - 0
Exposure - 0.5
Contrast - 11
Highlights - -83
Shadows - 40
Whites - 55
Blacks - 0
HOW AND WHY
As stated above, I did the same for the this sequence as I had done for the previous two hallucinations, so I won't repeat myself. I felt it was very important to change the colours of these scenes as a lot of the project is relatively flat, and these were the scenes where we could go bat shit crazy. So we knew these scenes needed lifting in every possible way in the post production side of things. We did actually have to use another adjustment layer for Sam's hallucination as the colours didn't pop as much as the other two. After pulling the colour wheel tools in the opposing direction on the new adjustment layer, there wasn't major change to the contrast or highlights, so I added in another adjustment layer specifically for this scene to create a very tangy yellow aesthetic, I wanted to make sure they all had similar but different colour tones running through each of their hallucinations to really allow the audience to distinguish we were leaving and entering different minds.
As stated above, I did the same for the this sequence as I had done for the previous two hallucinations, so I won't repeat myself. I felt it was very important to change the colours of these scenes as a lot of the project is relatively flat, and these were the scenes where we could go bat shit crazy. So we knew these scenes needed lifting in every possible way in the post production side of things. We did actually have to use another adjustment layer for Sam's hallucination as the colours didn't pop as much as the other two. After pulling the colour wheel tools in the opposing direction on the new adjustment layer, there wasn't major change to the contrast or highlights, so I added in another adjustment layer specifically for this scene to create a very tangy yellow aesthetic, I wanted to make sure they all had similar but different colour tones running through each of their hallucinations to really allow the audience to distinguish we were leaving and entering different minds.
EVALUATION
- It was a long process as the visuals and adjustments kept on moving because Aimee and Andrew were continuously editing, so I now lock all the tracks once i'm done with my colour grade, saving me from having to correct certain scenes all over again.
- It was quite close to the deadline having it finished but it's been complete now and we're all extremely satisfied with the end product.
- After taking on Nathan's advice in regards to how you pull in the opposite direction of the colour you want to emphasise, I felt the pieces hallucination scenes look really good.
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