Steve Oakley is my favourite cinematographer of all time. OF ALL TIME!!
I can see what you mean about the colour not really being there in the footage before the grade. What generally happens is that the cinematographer will use a LUT or a picture profile to view the image as close as possible to the graded image. All the colour that is in the graded image is on set and in the production design, however the camera records the a flat image to preserve the largest amount of detail.
A LUT is an in camera colour grade that is viewable on a monitor but not recorded on the footage.
One thing i will say is that the flat image can falsely lead you into not worrying about colour and specific shades or textures but as soon as you push the contrast back into the image in the grade, aaaalllll of the inconsistencies will become visible. And this can open up the rabbit hole of colour grading and matching the grade shot to shot. It is actually much easier to match a low contrast, flat or mostly ungraded image shot to shot, than a punchy saturated image because the colour becomes critical. I really think this led to the glut of washed out images that was all the rage not long ago.
I hope that helps a small amount.
The last scene came together really well with the music and our editor being able to comp in the lead actress since she wasnt available at the same time as the extras. We had access to a RED Epic through the University but swapped out the CP.2 lenses with an old set of Ziess Super Speeds. Such a nice set of lenses although they lack the contrast of some other lenses.
The mood piece was really fun to put together and has been really useful to get the mood accross to the departments
For anyone trying to access the videos.
The password for both vimeo links is 'NFS'
These boards need an edit post button badly
Thats an interesting take on the music criticism. I personally think the music plays as a blockbuster epic wheras the images play as an artistic interpretation of the adventure genre with a unique voice and immersive experience. I couldnt say what the right music would or could be, and come the final music this may play perfectly to the images as a whole in the movie. For me, with quite a bit of the trailer playing as either handheld moving shots or MCUs or closer shots, i think the music could reflect this. Maybe something simple and quiet, or experimental, maybe a little more atmos/sound design (but that is likely kind of budget/time dependant and will come more in the full trailer later in the year).
I would love to see/hear some of the more musically minded NFSers have a crack at an alternate take on the soundtrack.
Overall though, between the footage, the acting and the locations as well as some nice production design/costumes (coupled with the great stills on C Mount on M4/3 on facebook) i would say that their isnt another indie film im more excited for this year!!! Congrats!
It seems like its almost about setting limits around the style your doing in the film, so you an exploit that style to create the emotion. Or else you get stuck in the dangerous world of cliché, where all you have to play in is what you have seen to work in other film. Hold a close up for emotion for example, or general wide/over/over coverage etc etc. I guess you could compare the films of Derek Cianfrance and Wes Anderson, two very very different film makers that in my opinion seem to restrict themselves to a particular style that are after in a movie and then exploit the emotion or the story within that style.
I guess the conclusion im coming to for myself is that research and knowledge and understanding of different art, culture, photography, music, storytelling etc etc, really is the key to attaining a style while then exploiting it to best tell a narrative and the emotion of the characters within it. This will allow me to articulate what im after with references rather than scattershot hope that 'looks cool' or 'works' etc etc. Articulating and and understanding really does seem like the key to finding and exploiting a style while also being abel to exploit the emotional aspects within that style.