How Prometheus' colourist Juan Ignacio Cabrera gave a tense, edgy feel to Chosen

LA-based colourist Juan Ignacio Cabrera, who worked on Star Trek: Into Darkness, Prometheus and other Hollywood films, recently handled the post-production for the second and third seasons of Chosen.

The most successful show on the Crackle online streaming video network, Chosen is an action-adventure TV and web series from Ben Ketai and Ryan Lewis and Lifeboat Productions.

It revolves around people whom have became involved in a deadly game after receiving boxes carrying instructions to kill.

The drama was captured on ARRI's Alexa and RED Epic cameras, some using HDR functionality for extended contrast and dynamic range. Cabrera graded the series on a Mistika 4K system from SGO.

"I love it when a colour grading session becomes a creative brainstorm between the cinematographer, director and colourist,” says Cabrera. “And that's what Chosen was. Tim and Ben wanted for this second season to be a huge leap forward in quality, so we created a new colour language from what they had on Season 1.”

“The overall look of the series gives a tense, dangerous and edgy mood reflecting the dark and violent storyline,” Juan added. “The grade is not overly saturated and keeps a consistent hue, keeping in line with the director's vision for the show.”

“Working with Alexa and Epic and following a feature-like process allowed us to create wonderful imagery that boosted an already powerful story," he added. "With Mistika's conform tools we were able to minimise conform times to a minimum, to the point of being able to grade a couple of hours after a cut had been locked. The whole process was incredibly fast and seamless, even when we had to deliver both HD and UHDTV masters. As for the outputs, we delivered in ProResHQ files and back-to-back DCP for the première. All of these files were rendered directly from Mistika without any intermediate conversion required."

As episodes were completed, they were uploaded from Mistika which allowed the producer, director and DoP to view content on calibrated Sony monitors. They returned their feedback and the look was finalised and files delivered promptly.

Working on a high profile series for television brings its own unique challenges in grading that are different to cinema projects, as Juan explains: “I find that with TV there is less time to perfect the footage for the grade, but the nvidia processing power in Mistika helped me to accelerate the process.”

Elsewhere on IDG sites

Read Next...