POST-PRODUCTION GLADIATOR II
more pronounced. Tools like de-flicker plug-ins can slow that down, and while the audience might not notice it, the improvement is significant.” Features like these enable Nakamura to tackle adjustments on a shot-by- shot basis. “It’s like adding a vignette or flagging a wall digitally – small details that seem invisible but dramatically affect the overall feel and guide the viewer’s eye. Without them, the picture looks different and the impact shifts.” COLOUR ME HAPPY Even after decades in the industry, Nakamura remains energised by his work. “Every project feels like a new adventure,” he says. “You’re constantly reimagining and innovating: maybe this scene could be warmer, or this sequence cooler? The possibilities are endless.” His expertise does come with a price: he finds it hard to simply enjoy films and TV. “If I’m fully engrossed, I can switch off. But if not, I’ll critique everything – the
SETS AND SHADES Part of Nakamura’s job is adjusting tones on fantastical scenes like these
grade, even the theatre’s calibration,” he admits with a laugh. His portfolio is ever-expanding – upcoming projects include Captain America: Brave New World and Sonic the Hedgehog 3 – but one of the things he loves most about the job is the camaraderie of
life at Company 3, the LA-based post- production studio he works at. “Working in the office, surrounded by so many talented people, sparks a host of ideas you wouldn’t come across when working alone,” he says. “That human connection is irreplaceable.”
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