Van Der Cruyssen collaborated closely with cinematographer Darius Khondji, as well as the Safdie Brothers, all of whom he had worked with previously on the Jay-Z video for Mercy Me.Cruyssen said: “I actually graded the dailies on Baselight. We saved those precious settings in BLG files as a starting point for the final DI – that saved at least a day. The show LUTs were then created and adjusted through production so we had a solid base.”
Van Der Cruyssen and Khondji worked on the final grade.Cruyssen added: “We initially did a loose session, starting from the dailies settings, before starting the two weeks of final grade. Darius prefers to think in printer points, so the main work was done in Baselight’s Film Grade, using printer points for contrast, saturation and exposure – mimicking what a print lab would do. While the directors attended often, Darius was there every day. It could get a little frenzied with all of us in the room, but more often than not we were on the same page.”
As is the norm on productions of this scale, multiple deliverables were required, including theatrical, Dolby Vision, HDR and SDR.Baselight’s ability to work in different colour spaces easily was vital for efficiency.
“From the final grade, the straightforward colour space conversion tools in Baselight allowed the team to create the multiple versions.“Baselight is both very powerful and very creative,” said Van Der Cruyssen. “For me, the technical aspects should always come second; the creativity is the driving force. But they both feed you in a way: a new tool brings new creative ideas. And a new creative idea can open a discussion with FilmLight for a new tool, or even just a way to do it differently.”
Uncut Gems is in cinemas now and will be released on Netflix on 31 January 2020.