Color Grading

Son of Saul, László Nemes’ Golden Globe winner, is set in the horrors of Auschwitz in 1944. The movie was shot on 35mm film, which underlined its stark and understated look. To capture the emotions that underpin the movie, Nemes set about what seems today like a revolutionary analog to digital workflow: he not only shot the feature on film, but he finished and reviewed it on film, too. Son of Saul is a very raw story. The harrowing story, also nominated for best foreign language Oscar, got its subtle grading atmosphere from one of the FilmLight Baselight suites at Budapest facility Magyar Filmlabor (Hungarian Filmlab). Having achieved the visual style that Nemes and the movie’s DP Mátyás Erdély wanted in the film print, colorist László Kovács set about recreating this in Baselight.

Baba Joon means papa as a term of endearment expressing respect for the father of the family in a traditional Iranian home. A movie named Baba Joon was selected as best film at the most recent Ofir Awards, the Israeli version of the Academy Awards. The film portrays the human struggle many face when having to choose between tradition and personal freedom, dealing with the challenges that the generational gap can cause. Baba Joon is the feature-length directorial debut of screenwriter director Yuval Delshad, an Israeli and himself, the son of Iranian immigrants. Shot with a Red Epic, Baba Joon was also the first feature completed on Tel Aviv-based Edit Studio's Mistika.

Established Australian post house Spectrum Films has played host to international productions such as The Railway Man, The Water Diviner, The Matrix, The Great Gatsby, Wyrmwood: Road of the Dead, Sacred Heart and many other titles, including, most recently, a compelling documentary that aired in 2015 called Deadline Gallipoli: The Full Story. The documentary illustrates how Spectrum Films relied fully on SGO Mistika's open architecture, speed and versatility. The entire project was post-produced in Mistika including the online, color grading, titling and deliverables.

When it came to grading The Americans, where the central characters live a double life, colorist John Crowley knew he would need to create some distinctive looks. He used one of Technicolor PostWorks New York’s Baselight systems to grade series two and three of the New York-shot, 1980s-set show, working closely with director of photography Richard Rutkowski.