Published On: March 13th, 2023data-orig-src=https://www.sgo.es/wp-content/uploads/faulkner_web.webp width=1920 height=1080 class=lazyload wp-image-0 />
Recently premiered at the Oxford Film Festival in Mississippi, Faulkner: The Past is Never Dead', is a thought-provoking documentary that explores the life and heritage of American novelist William Faulkner. Color correction of the film was undertaken by Jeff Sousa, supervising colorist at Dungeon Beach, deploying SGO's full finishing and color grading solution Mistika Boutique.
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Through a combination of reenactments, interviews and archival footage, the film's Writer-Director Michael Modak-Truran offers a new perspective on the author's work and his views on race.
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Coming into post, I was most concerned about matching the reenactment footage, shot on an Arri Alexa, with the interview footage that was shot on cameras that we had available (for example, the Sony FS7). These concerns didn't actualize. Jeff and I created a beautiful, dark period look for the re-enactment scenes that was seamlessly applied to the interviews, helping tie together all the narrative elements and further the story.
The goal was to transport the viewers back in time while maintaining a subtle and natural feel and Jeff tweaked the final look of the project with Mistika's printer lights to carefully desaturate the shots and create a unique palette for Faulkner's Mississippi. The greens were hue-shifted blue, and the yellow and green luminance sliders were lowered to add density. The skin tones were pushed to pink initially, but later changed to yellow to represent Faulkner's battle with alcoholism.
Organizing the project efficiently with Mistika's Gangs Feature
One of the main challenges during the post-production process was keeping the project organized. The team used Mistika's Gangs feature to label and group each interview, allowing them to update the grade on all instances of any given interview, no matter where they were located in the timespace.
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What's unique about Mistika in this regard is that you can propagate (or push) a color update to just a certain layer of shots in a Gang. For instance, you can update only the Print Film Emulation LUT on an interview without affecting the color management layer, or you could update your creative overall grade for that Gang without affecting its LUT, explained Jeff Sousa and added that this flexibility allowed them to continually revise and improve the interview looks.
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Jeff also relied on the Render Presets and Path Builder functionalities to automate the naming, codec settings and placement of files on the server. They made the project name in Mistika the same as the folder name on their NAS. This allowed them to take advantage of the [project] dynamic token to have all their renders go into the Faulkner folder and into whichever subdirectory they liked. This automation saved them time and reduced the chance of mistakes.
Achieving a cohesive look with a full ACES pipeline
The project used ACES as the main color management system because the interviews were mainly shot by the director himself over the course of many years with various cameras. We had Sony, Canon, Blackmagic, RED, DJI, and of course baked 709 from DSLRs, and ACES was the best choice because it unified all those different log flavors into a single curve and gamut that I could grade with consistency. I was fortunate to have a fellow Mistika colorist, Ilia Ivanov, assisting me on the conform, and he was able to configure the Unicolor nodes for each of the interview shots to get them into ACES.
Additionally, the Cinegrain Pipeline Print Film Emulation LUTs were built for ACEScct, so they were able to use those looks as a jumping-off point for their own look design.
Seamless integration with other departments
Mistika was deployed as a 3D LUT laboratory to help with color management integration with the VFX team. There were a number of VFX shots on the film, and certain modern details like power outlets and fire alarms needed to be digitally erased for period authenticity. The paintouts were handled by the lead compositor, Carlos Raya, in Nuke, and they decided to work in ACES in Nuke as well. To capture the look established in Mistika, the team created an LMT for Nuke using Mistika's improved LUT export feature.
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This allowed the VFX artist to visualize the color grade while working and enabled the director to approve works-in-progress in the context of the already-approved DI color, explains the colorist. Once approved, the Nuke artist disabled the LMT and sent an ACES AP0 Linear plate back to Mistika, where it could plug back into its effects stack. Any revised compositions from the VFX department could be updated automatically using the new Update Clip Version right-click feature.
In addition to color, VFX and online edit, Dungeon Beach also handled foley, sound design, dialogue edit, and surround-sound mix for The Past Is Never Dead'. The ability to route audio and group tracks in the Timespace made deliverables organization easy.
With three audio groups, depending on the video export needed, certain groups could be disabled for a ProRes with only specific audio. This audio nesting feature is unique to Mistika, keeping everything visually organized.
Perfecting frame rate manipulation with Optical Flow and Vector Paint
The project required a considerable amoun
