Rough cuts and LUTs

Squinting at the finish line

I spent Thursday night seeking out progressively larger screens. I started on my phone, switched to my laptop, and then moved to my widescreen computer monitor. This search for expanded real estate was in response to the news that there were clips for me to review, clips with the score dubbed in, and everything.

As you might imagine, I was quite beside myself.

I got my first real look at the creative vision behind the photography, and I kind of exploded. I promptly hammered off an email to Rocco (director) and Mike (cinematography) to say OMG I SEE WHAT YOU DID THERE WITH THE FOCUS AND AND AND. In all caps. I had the same reaction when I realized what was happening with the music.

“Wait til you see it when it’s got the LUT, “ said Amy (producer).

My overly simplified take on the LUT is that it’s like Instagram filters. You apply a little Lo-Fi here, a little Clarendon there, you give the film a consistent look. The LUT amps up or tones down the color, the contrast, the glow, all that stuff. Again, overly simplified, but this analogy helps me understand the results. (If you want to get in the weeds, read this.)

We have a guy for this, his name is Bradley Greer, and when I watched his sample reel, I was all, “HOLD UP, is that Brad Pitt?” That’s when I closed the laptop and moved to the widescreen monitor.

It’s all coming together. We’re about to put together the credits and we’re talking about those big film festival deadlines. I watched three short, not-quite-final clips roughly 362 times and went to my day job, where I promptly thought of nothing but those not-quite-final clips.

Folks keep asking when they can see it. You think you’re going to be able to stop me from making you watch it when you can?

I wish I could bottle what this feels like and send it to you.