Color Correction for The Second Line
I color corrected John Magary's high definition short subject The Second Line in Final Cut Pro. It was shot in Super 16, the negative was transferred to D-5 as a high definition, low-contrast safety transfer. After the initial offline, the editor recaptured the project as 1080p, 10-bit Uncompressed 4:2:2 media, which is what I worked with.
The original safety transfer necessitated contrast and color expansion for each shot in the movie to achieve the final image quality. Creatively, the The director and cinematographer wanted to stay close to the overcast, muted lighting conditions of the on-location post-Katrina New Orleans shoot. Adjustments were made to accentuate the passage of time, from morning through sunset.
The Second Line has had a tremendous festival run so far, having been accepted to the Tribeca, Sundance, Cermont-Ferrand, South by Southwest, Aspen Shortsfest, Ashland, Oxford, Nashville, Torino, Rio de Janero, Edinburgh, and New Orleans festivals to name a few.
Roll your mouse over each image to see its original, uncorrected state.
