In a typical color session, an experienced colorist will walk through your film shot-by-shot and give a comprehensive treatment to all important color elements. Modulus runs two DavinciTM 32-bit color workstations that allow primary and secondary grading adjustments, automatic tracking, Power WindowsTM, stabilizing, and reframing at 4K resolution.
Concerns addressed in a color session may include:
- Finding the right "look"
- Increasing depth and realism
- Compensating up to 2 stops for exposure problems
- Making faces and skin tones more appealing
- Sharpen products and help them stand out
- "Legal" color spec for broadcast or distribution
- Stabilize handheld cameras
Examples of color correction and grading for documentary and narrative film, TV, music video and spots completed at Modulus can be found below.
Docs often have tricky lighting, archival footage, moves-on-stills and subtitles. Bring it on. Here are samples of our work on: ONE CUT, ONE LIFE by Lucia Small, IN COUNTRY by Mike Attie and Meghan O'Hara, BEIJING TAXI by Miao Wang, and CACHAO by Dikayl Rimmasch.
Independent films need color grading, visual FX, DI mastering, and DCP's for worldwide cinematic distribution. Here are clips from: DARK FEED by the Rasmussen Brothers, INKUBUS by Woodhaven Productions, LEZARE by Zelalem Woldemariam, and SKINHEADS IN LOVE by Dirk Craft.
Spots & Music Videos
Modulus can take ads from mix and edit to distribution, including adding supers and motion graphics. Here are examples from: Partners Healthcare / Spaulding Rehabilitation directed by Vladimir Minuty, produced by Monique Douglas, and music videos for State Radio directed by Andrew Mudge.