Written by Simon Cox, Colourist. (Man in charge of colouring in)

We’ve just finished putting the finishing touches to our colour grading reel, which you can see here.

Grading is something we all get quite excited about here at Oakslade, but it’s often difficult to explain why, but here goes… A question we get asked quite often is: “Why bother?”  The easiest way to answer is to think of all the feelings and emotions that we readily associate with colour. Romance…red? Jealousy…green? Cold…blue?  Heaven…Mila Kunis?   OK, perhaps not the last one, but all the others are examples of how we constantly relate to colour, whether we consciously realise it or not.   Given that these are all common responses, think of the multitude of ways that we react we unconsciously react to colour. How much effort goes into choosing the colour you paint your living room or the colour of your new car? Which is why colour grading your film is important.  Don’t you want to own a TVR just because they come in Felix Chameleon Black?

If you watch your favourite film without sound, it will be a very different experience (providing it’s not a silent movie, of course!) Watch a film without colour and the same rule applies (again, providing your film isn’t black and white - but even then it will have been graded).   So what do we do?

Once a picture lock has been signed off we get to work in our dedicated grading suite (running Apple Color and our super shiny 23″ Vutrix LCD Grading Monitor) to get the most from the images, working on the tonal range and overall contrast until all the shots are equally balanced before moving on to our secondary corrections. These can range from simply improving skin tones and replacing dull, grey skies (a fairly common feature here in the Midlands!) to isolating specific colours and adding stylized looks and moods.

Each sesson with our colourist is specific to the clients brief and helps to achieve a specific ‘look’ to help tell the story. Having an in-house colourist means that not only can we make the changes to your film that you need, but we can can advise you so that even if you’re not sure what you want then we can help you work it out.

Take a look at the reel and see how we can bring your images to life.

Another quick post pointing you toward something interesting. Studio Daily is a web resource for all kinds of production matters, from cutting edge technology to training resources to general production related material, but there was a post on there recently that caught our attention. We’ve waited until now because the responses seem to have petered out at last but it did provoke some interesting debate.

The short version is this “the availability and affordability of high end home editing systems means that the majority of the newest generation of editors don’t know squat about editing”.

The interesting distinction to be made is that it doesn’t say these people can’t edit, rather they don’t know, don’t understand or don’t care about the tricks of the trade, etiquette, useful planning techniques, technical details, traditions, inside-knowledge, trade secrets, workflows, standards, practices, finishing techniques, secret handshakes and (with a raised eyebrow) work ethics and that have built up over the last century.

If you’re an editor its worth a read, regardless of which side of the argument you fall down on. But if you’re not an editor then its absolutely worth a read because it explains the difference between editing and being an editor and demonstrates how hard it is to tell the difference between the two.

The Studio Daily blog is here.

An interview with Hugh Laurie, still awesome in House, in this past weekend’s Observer magazine mentioned a documentary he did about funerals. The stable lad for the funereal carthorses mentioned that the horses don’t like this sort of work because “the load isn’t heavy enough”. I was reminded of the time I visited the Microsoft computer lab at Pembroke College in Cambridge and saw a supercomputer with 1TB of RAM designed to calculate fluid thermodynamics being used to play minesweeper.

This comes to mind today because Creative Cow sent me a marketing email this morning about the Redbox parallel processing unit. Essentially a render farm in a box, it increases productivity by a factor of 8, where productivity is measured by the time your computers spend doing insanely complex mathematics. We don’t need one at Oakslade because “the load wouldn’t be heavy enough”. We don’t do the sort of processor-intensive graphics, animation and visual effects that would need a Redbox. However every project here does need a certain amount of computer heavy lifting. If HD footage were an object it would be the kind of thing you pass to a friend and go “feel how heavy that is”. And the point comes where the edit is finished but the graphics need to be rendered out one last time, just to be sure, and then the project usually needs to be compressed for delivery. All of this tends to occur as the deep stomach-churning rumble of an approaching deadline gets uncomfortably louder.

Luckily we don’t need a Redbox for this, our gigabit Ethernet network allows for distributed computing power amongst our sleek detachment of Macs to handle the heavy lifting and continued investment in equipment here means that the load still isn’t heavy enough.

Following the extensive equipment upgrade over the past six months, topped off with our recent purchase of Episode Pro software that allows us to encode commercials for broadcast, we found ourselves in a recent edition of Broadcast magazine. Getting recognition from the industry magazine, particularly when our industry is so London-centric. is always extremely valuable. And of course it validates our own reasons for running a facility away from the noise and haste. Soho’s not the only game in town.

It probably comes as no surprise to the people who swing by this blog that in a technology led industry like ours the ’state-of-the-art’ and the ’status quo’ get further apart every hour. So it is part of the editors’ remit here to keep up to date with both technology and design. This is a polite way of saying they get to surf the net a lot during render breaks.

This led Simon came up with something interesting the other day from those very smart people over at the Pro Video Coalition in America about the cost of video production. Although the article relates specifically to production the principles transfer happily across to post-production too.

In short it says that you can’t compete on price because someone will always undercut you. So we all need to articulate what it is that makes us different? What makes us worth it? Why come here? Why pay more? Why pay less?

We want to keep this blog as a thinking space more than a selling space, so I won’t give you our answers. But we have definitely asked ourselves these questions and will continue to do so. I hope you have too.

A purchasing expert recently challenged me on our prices for editing - asking me to reduce the cost of our £500 per day edit suites beyond the normal 4-day week offer. We came to an arrangement, of course, because of the amount of time this particular client spends at Oakslade Studios.

But the conversation made me question whether we were really offering value for money, rather than simply comparing ourselves with other providers as being somewhere between ‘low-cost’ and ‘expensive’?

Whether or not a marketing campaign (in our specific case a piece of video) was worthwhile value for money depends entirely on results. These don’t have to be simply “increased profit” - but unless you’re embarking on marketing just to make yourself feel glamorous, whether or not the cost was worth it depends on what the darn thing does to change and improve your business.

Investing in and spending money on marketing relates to the whole ethos of a business. Would you sit down and ask your managing director to breakdown where they spend their salary and work out where they could cut costs? You’d judge them on their performance of course. How well they hit their objectives, how they communicated goals and delivered strategy throughout the business.

The challenge for us, and for marketers in general, is in setting the objectives in the first place, measuring them, and relating them to business issues that everyone has a stake in. In some cases this has to be something as concrete as increased profit!