Yes, You Read That Right
Color correction for Counter Column is complete! Like every other step in this production, it involved prayer, suspense, and a last-minute miracle. After all, it wouldn’t really be Counter Column without the challenges—you all know this best of all!
Color correction is a vital aspect of post-production. It happens after the locked edit (when all the scenes are in place in their correct order), often at the same time as sound design and music. It has a huge impact on a film: “It was interesting to see how much color changes the mood of the movie and makes everything cohesive,” Producer Matthew Jordan shares. “[It] went faster than we thought it would!” Which is a huge praise, as you’ll see in a minute.
For Counter Column, our colorist Barrett Kaufman had a particularly challenging job because he had to get the footage from our two different cameras to match up. “Because of our limited resources during filming,” Matthew explains, “the initial color in the video files recorded by our two different cameras looked far from identical.” You can imagine the problems this would cause—imagine the look, feel, and color of a movie changing with every shot during a scene or conversation! Definitely distracting and detracting from the film’s message.
But Barrett accomplished this and more, including adjusting several night scenes that we had had to shoot during the day! And, the job was finished faster than Matthew and Gilbert expected. “We barely met a tight deadline,” Matthew says, “and literally got the last shot approved on the last day we could’ve…Another mini miracle.”