HEART OF STONE PRODUCTION
AS A COLOURIST CONTRIBUTING TO A FEATURE, I RECOGNISE MY ROLE AS A small yet vital cog WITHIN A SOPHISTICATED MACHINE”
ALL TOGETHER NOW With grading being an iterative
a sophisticated, well-coordinated machine,” shares Grattarola. “The collaborative efforts of the VFX, set design, art direction and stunt coordination teams have all genuinely shone.” SIGNED, SEALED, DELIVERED Towards the project’s end, Grattarola delivered three versions of the grade: HDR, SDR and theatrical. “We initiated the HDR grading process in DaVinci Resolve Studio before addressing [the other outputs],” he explains. Watching Heart of Stone back on both large and small
screens gave the team a full picture of the film’s ‘cinematic atmosphere’. Grattarola truly believes they achieved Harper’s original vision. “I’m continually amazed by his ingenious creative process and his impeccable decision- making skills,” he admits. “He masterfully balances the minutiae of detail with the grandeur of the larger picture. “Collaborating with Tom and George over several projects has honed a seamless dynamic among us,” Grattarola concludes. It’s a dynamic that works – and one we’ll hopefully see more of. Heart of Stone is streaming on Netflix
process, “TBA’s collaborative, studio- based approach facilitated constant refinement as we moved from suite to suite, enhancing shots through WIPs and client feedback,” explains Grattarola. He continually worked with the VFX artists, providing temporary grades for stills as a reference point. This saved time when it came to grading scenes with green screen elements. “As a colourist contributing to a feature, I recognise that my role is that of a small yet vital cog within
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