In this Interview, Shanghai-based colorist Xu Shangyi grants us exclusive insights into the production of commercial livestream events and his live grading workflow. Managing a show’s look while it’s getting broadcasted creates a demanding production environment with unique challenges. Keep reading to learn how Xu Shangyi used Livegrade Pro to realize livestream projects for big brands like TikTok and Corona (and by that, we mean the beer).
In this interview, DIT Gastone Ferrante lets us know how the collaboration between DP Alan Stewart and himself actually worked out on set of Guy Ritchie’s latest movie, Wrath of Man. In addition to Silverstack Lab, Livegrade Pro was also an integral part of his work.
Krzysztof Wlodarczyk was DIT on an exciting film project recently. The Peasants is a movie whose creative approach was inspired by the painting style of the arts and crafts movement Young Poland. Even before the elaborate re-coloring process took place, this production was already characterized by complex, technological workflows. Krzysztof was responsible for color grading and data management on set. In the following interview, he explains how ShotHub helped him complement his work with Silverstack and Livegrade, and why working on The Peasants was a challenge that he enjoyed and drew motivation from.
On large scale productions that span over several countries, consistency, in general, is always an important principle. Look consistency across different units is no exception here, especially when several DPs are involved – as it has been the case on “ZeroZeroZero”. Together with DP Romain Lacourbas, we got to the bottom of the question, how the creative development of a picture can be visualized and improved by on-set grading with Livegrade.
It is always a plus if a team has previously worked together – workflows are often already established, and the communication is easier. The Netflix action comedy ’Coffee and Kareem’ was not the first collaborative project for DIT Leon Rivers-Moore and the camera team he worked with, which made it a lot of fun for everyone to shoot. Silverstack and Livegrade Pro were two old companions for him as well, which he used for the media asset workflow, QC and color grading on set of this particular production.
The TV series ZeroZeroZero is a saga about drug trafficking that spans several continents. A production like this requires a high amount of traveling and cooperation between people from different countries. Italian DITs Andrea Cuomo and Andrea Curiazi have been part of this production in 2019 and report to us their experiences.
After starting as DIT in Rome only two years ago Giulio Strata is more than passionate about his work in this ’crazy business‘ – as he calls it. Even if it can be challenging sometimes to work on small projects, when budget and resources are limited, that can gain new creative approaches and flexibility. He worked on two such projects, the short movies “Under the Moon“ and “Swallow“. In this interview he shares some insights about these two and explains what makes this job so special.
Interviewing famous bands can be exciting enough. However, rushing around locations to get all necessary shooting material can result in a nerve-racking challenge. Therefore, offloading movie data on the go requires thorough planning. The guys of Clockwork 9 kept that in mind while shooting the documentary „Live at the Agora“. With a mobile setup and reliable software for their data management they made sure to accomplish their daily tasks as smoothly as possible.
Capturing a live performance can be challenging – for the DP and camera assistant, as well as for the DIT involved. When Ryan Nguyen worked as DIT on the Netflix Comedy Special “Happy to Be Here” by Standup Comedian Tig Notaro, he had to make sure that 15 hours of footage from the night were secured, QC’ed and transcoded.
Getting all your technical equipment and the entire crew to the designated shooting location can easily become a challenging scenario, especially when shooting at remote locations with hardly any road access. That’s exactly what DIT Stefan Weßling experienced on the production „Capelli Code“, when he had to get his setup to a location in the Swiss Alps that was only reachable by a 45-minutes ride on a snowcat.