DRAMA | WI LD ROSE
We discussed how the grade could reflect how the characters were feeling and spent time developing ideas in DaVinci Resolve
TH: We also ensured there was a difference in the grade between
IMAGES DOP George Steel with the Red Weapon (above right), and lead actress and director (above)
WILD ROSE IS CURRENTLY ON UK RELEASE AND COMES OUT ON 14 JUNE IN THE US what we do. Because when it kicks off, you’re all prepared and ready to respond and capture that. This wasn’t acting: it was an authentic gig. TH: My favourite scene was a great concert sequence with a crowd in Glasgow. All the extras were absolutely fantastic, and Jessie gave a great performance where she ended up leaping off the stage and writhing around on the floor – the focus puller wasn’t expecting it at all, so he was flying off trying to get a better look. In that chaos, that’s where the magic happens. That, for me, is why we all do the studio first, but doing it separately for a movie where music is such an intrinsic part of the story felt alien and wrong. Again, it fed back into that core principle of making it as truthful and authentic as possible. We had to shoot in a way where we were always on our feet, ready to light on the fly if Jessie decided to take the action somewhere else during her performance. We wanted to give the actors space and freedom to do their best work, and genuinely have that blur between where film stopped and reality started. George knew if the action went somewhere else, he was free to follow that action. The sound team knew that, too – sometimes they just had to pick up their boom and run. DEF: Do you have any favourite scenes or sequences fromwhen you were making the film?
Glasgow and Nashville, to reflect the natural variations in light and colour we saw in the rushes from the two locations. Rose-Lynn is achieving a lifelong dream by performing in America, so we used Resolve’s grading toolset to create a more extreme look that was more colourful and contrasted, down to there being more blue in the blacks. We then delivered P3 for DCP cinema delivery and Rec. 709 for broadcast and DVD. DEF: What main lessons did you learn throughout the making of Wild Rose ? TH: How to be responsive and adapt our shooting style to incorporate musical performances. All the music was recorded live. We could have recorded it in
grades and create the palette for key scenes during the editorial stage. Rather than it being a ‘look’ grade, it was much more about ‘feeling’, so there were no predefined LUTs. Instead, we discussed how the grade could reflect how the characters were feeling and spent time developing ideas in DaVinci Resolve. There were even a few two-to-one votes where we all had different opinions on the matter! Ultimately, we knew we definitely didn’t want Glasgow to have a glossy, modern look – full of big rooms and brightly saturated. Instead, we wanted the scenes shot there to look a bit grittier and noisier, with grain added.
34 DEF I N I T ION | MAY 20 1 9
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