Traditionally, medium budget film sets are run by at least 12 to 25 people; this one had 4. This set was an experience hard to forget. It really did push everyone to the limits which broadened perspectives and allowed us to expand our repertoire of abilities.
Gabriel Jung is a young Brazilian Italian cinematographer and photographer. Spending his early years immersed in his father’s professional studio in Brazil, Gabriel Jung learned the intricacies of lighting. He began photographing early on in his life, learning the different ways to use 16mm and 35mm film stock to capture the right image. By the time Gabriel reached early adulthood he was an expert in photographing in both film and digital. These skills were backed by his years of research in cinematography allowing him to bridge both worlds for the best images. Go check out his website here. Gabriel Jung has photos from all over the globe and he loves to shoot on film and digital.
Gabriel Jung and Noah Petrillo, who is also a writer and director, teamed up and wrote the script for "Go Slowly".
Gabriel was pretty much a one-man show in terms of production, with Noah and Khiry coming in as production assistants, grips, and even a c-stand for use as day-players.
Color correcting it was extremely fun! Gabriel and I were on the same page entirely. We did have a few technical problems with Blackmagic Designs DaVinci Resolve 15 and round-tripping from Adobe Premier to DaVinci Resolve and back to Premiere Pro again.
It was overcome by using a different export workflow starting from Premiere Pro and then brought everything back under one XML file later via Blackmagic Designs DaVinci Resolve 15, no problem. Working with Blackmagic Designs DaVinci Resolve 15 was absolutely amazing. The power this software has, even in the free version, is something renowned.
Unfortunately, the version available was free so there had to be creative solutions to noise reduction; resorting to splitting up the Red, Green, and Blue channels and then attacking each individual color of noise separately with a slight blur effect on the channel.
This was definitely a personal favorite frame to color correct and work on in regard to the visual effects. The eyes being engulfed in black or blue or red is something I had seen in many of my favorite movies and I was very happy with the out come.
This required rotoscoping in Blackmagic Designs DaVinci Resolve 15, frame by frame, not only to track Alexandra's eyes but also to trace over her optical musculature in order to keep the black mask on here eyeball alone rather than on her eye lashes or eye lids.
Time intensive indeed, but this project was under a tight deadline so this was the best result given the circumstances and resources available; yet indeed fun and filled with lessons regarding simple visual effects editing in the Blackmagic Designs DaVinci Resolve 15 color panel.