THE GREAT GATSBY by COLOURIST ADRIAN HAUSER

Welcome to Mytherapy Colour Grading Hall of Fame.

Every Friday we will aim to bring you closer to the world of colour grading by looking into the grading process of movies we love. We will showcase work of some of the worlds most regarded colour grading artists. We hope to give you a sneak peek of the behind the scenes of colour grading and, so, bring you closer to the art and science we love and live and get inspired by.

THE GREAT GATSBY by COLOURIST ADRIAN HAUSER

At Mytherapy we are big fans of the visual style of colourist Adrian Hauser, whose approach to colour and light has always been bold and delicate at the same time. We love how in his new collaboration with Baz Luhrman he has risen to the challenge and brought to the screens the vibrancy and colours described in F.Scott Fitzgerald’s novel.

Australia’s Cutting Edge was intimately involved in the creation of The Great Garsby, with nine staff working on the project for nearly five months led by Adrian Hauser, Senior Digital Intermediate Colourist.

Here is a small excerpt from the article By Phil Sandberg on the DI Process of the film:

“Adrian’s precise sensibilities in the digital realm, and in terms of his colour together with his acute spatial stereoscopic knowledge and awareness, allowed CM and I and the whole team to go far beyond our expectations on Gatsby in finding the vibrancy and colour described in F. Scott Fitzgerald’s novel,” said Baz.
Cutting Edge Senior Colourist Adrian Hauser said that creating the look was an inspirational challenge and an opportunity to implement his full range of skills.

“Whilst appearing heavy handed in its approach to colour and light in the final theatrical presentation, the 3D grade on Gatsby was in fact a very delicate process, realising and enhancing the subtle colour nuances of Catherine and Simon’s work,” he said.

“Baz has an amazingly sensitive eye for colour detail, so a large part of the process was to set styles that retained these colour nuances in low 3D cinema light levels, which can tend to bleach colour from the screen and make things appear dingy. Baz’s Great Gatsby is a modern retelling of a classic tale and I believe the graded result is a hybrid between the look of classic cinema with its gorgeous colour reproduction processes and recently matured digital cinema technology.”

Adrian said that it was inspiring and a pleasure to work with Baz and Simon on the project.

“Working closely on the grade with Baz, Catherine Martin and DOP Simon Duggan, we spent quite a lengthy time developing and enhancing the final look of the film,” said Houser.

“Simon delivered such beautifully lit, grandiose and richly detailed sequences to work with, the scope for elevating and polishing the look of the film was vast, thus truly enhancing the grading process. It was a joy and honour to be involved in the film making process.”

Adrian also established the complex workflow in the DI stage. The film was shot as a true stereoscopic feature and wasn’t post converted, so this required a grading and 3D finishing workflow that conformed, aligned and was graded in 3D from start to end.

“With a little over half the shots in the film being delivered from VFX and the cut being progressively ‘locked’ up to near one week out from delivery meant the conform was truly a ‘rolling’ conform,” said Hauser. “We were constantly updating the cut and adding new VFX shots whilst grading and 3D sweetening the film.”

Additionally, living up to the challenge of a Baz Luhrmann movie, the conform incorporated a lot of poetic 3D multi-layer dissolves, resizes and transitions, which were mostly all finished and stereoscopically sweetened in Baselight.

Love it or hate it, it is undeniable that The Great Gatsby is a visually striking movie.