subdued palette towards the end of the relationship, and film as a whole. For the Graceland and US scenes, the team worked with real visual references of Elvis and Priscilla, using old stills to help inspire the style of the film – in fact, the wedding and the photoshoot were actual photographs. The dailies provided a good base for the grade, but Le Sourd had limited time on-set, so it was down to Van Der Cruyssen to polish the final grade. “I’m operating the movie myself, so I don’t have much time to spend with the DI team – just a rough idea when I start a scene,” comments Le Sourd. “Damien has to put everything back together; between him, me and Sofia, we have found a common language. The fact I know Damien well and he knows my photography well means we are both respectful of each other.”
Van Der Cruyssen had two weeks for the theatrical grade and main DI with Le Sourd and Coppola, and then an additional few days for VFX updates and the HDR/SDR pass. “Thanks to some beautiful photography, we managed to grade the movie in our two-week DI window,” comments Van Der Cruyssen. “Baselight’s Colour Cross Talk tool was helpful to build the look and the restricted colour palette.” “The movie was a colourist’s dream,” adds Van Der Cruyssen. “I love the variety of looks we accomplished between the German side and the colourful US side – including fun scenes of bumper cars, casinos, LA and of course the Las Vegas bedroom scene. “It was great working with Philippe and Sofia again and I can’t wait to have them joining me in the darkroom on the next one,” he concludes.
THE FACT THAT I know Damien well AND he knows my photography well MEANS WE ARE BOTH respectful of each other ”
THE HAPPY COUPLE Priscilla’s wedding shots were based on original photographs
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