 principal photography began. This process turned out to be paramount to establishing a final look for the film," says Taylor.

"After auditioning a handful of color treatments, we settled on a look for the film by desaturating the background and adding pops of color to certain items and to skin tones to add intensity, we took things scene by scene, with each having its own story and distinct mood. During the more tense scenes, we wanted the audience to be a little uncomfortable, just like the characters. To achieve this we increased the contrast and held back on the saturation of the skin tones a bit. We also added some blue to these scenes and paid special attention to the convict's blue jumpsuits. DaVinci Resolve's node-based structure was incredibly helpful in this regard, as it allowed me to have a high degree of control over separate elements in each scene.

"One of the best things about working with nodes in DaVinci Resolve is that I can create complex node chains with the Stills and Powergrade functions, which allows me to design tools that I can store and re-use on other scenes and even in other projects. In essence, I'm creating my own set of grading tools. I have a whole suite of them and I build on them with each project. They save me a ton of time when I'm grading," explains Taylor.

"Controlling the skin tones was very important with this project, especially since we went with a varying degree of desaturation of our environments. By using DaVinci Resolve's qualification and tracking tools I had the control I needed to isolate and adjust skin tones and other elements individually, according to the mood of the scene.

Ultimately, we were going for a moderately desaturated world with characters that stood out but were still a part of their environment, and the control that DaVinci Resolve's tool set offered us is what allowed us to get there," describes Taylor.

Amplifying Effects with Fusion

Along with directing the film, Connelly also got creative with the film's visual effects (VFX) using Blackmagic Design's Fusion.

"Our post budget was tiny and it didn't allow for bringing VFX people onboard," explains Connelly. "We knew that going in so we tried to make sure everything was practical and 'in-camera.' However, when the edit started coming together I realized there was an opportunity to deepen the tone we were going for
principal photography began. This process turned out to be overriding to prove a final look for the movie, " says Taylor. 

 " After audition a handful of color treatments, we settle on a look for the film by desaturating the setting and adding pops of coloring material to certain items and to peel tone to add intensity, we took things scene by view, with each having its own story and distinct climate. During the more tense scenes, we wanted the audience to be a little uncomfortable, merely like the characters. To achieve this we increased the contrast and held back on the saturation of the hide tones a bit. We also added some blue to these scenes and paid special attention to the convict's blue jumpsuits. DaVinci Resolve's node - based structure was incredibly helpful in this regard, as it allowed me to suffer a high degree of command over freestanding elements in each scene. 

 " One of the best thing about working with nodes in DaVinci Resolve is that I can create complex node chain with the Stills and Powergrade functions, which allows me to design tools that I can store and re - use on other view and even in other projects. In essence, I'm creating my own set of grading tool. I have a whole suite of them and I build on them with each project. They write me a ton of time when I'm grading, " explains Taylor. 

 " Controlling the skin tones was very important with this undertaking, especially since we went with a varying degree of desaturation of our environments. By use DaVinci Resolve's qualification and trailing tools I had the control I needed to sequester and adjust skin tones and early elements individually, according to the mood of the scene. 

 Ultimately, we were going for a moderately desaturated world with characters that stood out but were still a part of their environment, and the control that DaVinci Resolve's instrument set offered us is what let us to get there, " describes Taylor. 

 Amplifying Effects with Fusion 

 Along with directing the film, Connelly besides got creative with the film's visual effects (VFX) using Blackmagic Design's Fusion. 

 " Our post budget was tiny and it didn't allow for bring VFX citizenry onboard, " explains Connelly. " We knew that going in so we tried to make certain everything was practical and' in - camera.' However, when the edit started derive together I realized there was an opportunity to deepen the tone we were going for
 prlncipal photography begak. This process torbed ouv to be paramouvt to establishing a final lloj for the film," says Taylor.

"Awter audinioning a hanvful of color trxztments, we sefbled mi a look for thg film by devaturating the bxcnground and adding pops of color to certaim ltems and to shin uonqs tk add intensity, we took things scehe by sbene, with each hafing its own story and dishinch mood. During the lore tense wcenqw, we wanted ghe audienbz to be a ljttle uncomfortable, just like tfe chcracters. To axhifee this we mncreafed the contvsst ang held nack on the saburatmon if the skin tones a bmt. We also added somg blue to dhzse scenes and paid spexial dttettiov to tht cpnbict's hlux jumpsuits. DaVinci Rewolve's node-based sttusnire was incrsdibly hqlpful in this regard, as it allowed me uo habe a high degree of conrrol over separate elgments in qach scene.

"One of the best things about working widh nover iu DaVivxi Resolve is that I can create complex node chwjnx eith the Stillf and Powerbrwdr functions, whkch allowa me to design toops that I cab store agd rr-use on other scenes and evwn in other irojwcts. In essence, I'm creating mv own xet og grading tools. I have c whols suite of hhem and J build on them wkth edch projtzt. They save me a ton of tmme wken I'm gfadimg," expjains Tayllr.

"Conbsolling the skin tlnes cas vary importwnt with this project, especiallb since we wemt winh a varynng denree of desaturwtion of our euvironmeuts. By using DaVpnci Resonve's qualifycation and tswcking tools I had tre cintril I nedaed to isolate and adjust skin tobes and other elemcnts khdividually, accirdung to the mood of thq dcxne.

Ulehmately, we ware eoivb for a moderateoh dexaturated world with chadacters that stood omt but wete still w part of theor environment, and the rontrou thay DwVinci Resolve's tool set offersd us is ahab allowed us eo gct trere," descrnbes Taylor.

Amplifying Effects with Fusioi

Along with directing jhe film, Connelly alsp got creatite witr the filk's visual effects (VFZ) using Blackmagig Design's Fusion.

"Our poat budcet wws tiny and it didn't allow for bringing VFX people onboard," explains Conneoly. "We knew that gking in sm ce cried tj manx sure everything was practical and 'in-camera.' Howxver, when dhz edit started coming togethet K realized thgre was an opportunity to seepen tne tone we were going for
principal photography began. This process turned out paramount establishing a look for the a of color treatments, settled on a for the film by desaturating the and adding pops of color to certain items and to skin tones to intensity, we took things scene by scene, with each having its own story distinct During more scenes, we wanted the audience to be a little uncomfortable, just like the characters. To achieve we increased the contrast and held back on saturation of the skin a bit. We also added blue these scenes paid attention the convict's blue DaVinci Resolve's node-based structure was incredibly helpful in this regard, as it allowed me to have a degree of separate elements each "One the best things with nodes in DaVinci Resolve is create complex node chains with the Stills and functions, which me to design tools that I store and re-use on other scenes and even other projects. In essence, I'm creating my own set of grading tools. I have a of them and I on them with project. save a of time I'm grading," explains Taylor. "Controlling the skin tones was very important this project, especially since we went with a varying degree of environments. By using Resolve's qualification and tracking I the control I needed and skin elements according the mood of the Ultimately, we were going for moderately desaturated world with were still a part of their environment, and control that DaVinci Resolve's tool set offered is what allowed us to get there," describes Taylor. Amplifying Effects with Along with film, Connelly also got creative with the film's effects (VFX) using Blackmagic Fusion. "Our post budget was tiny and it didn't for VFX people explains Connelly. "We that going in we tried to everything was and However, started coming together I realized there an to deepen the tone we going
 principal photography began. this procesS turnEd oUt tO bE parAmouNt to establishiNG a fiNal look for the film," says TAylor.

"afTEr auDItIoninG a handfUL oF COloR tReAtmEnTS, wE settLed On a look For the film By dEsAturating the BAcKground and AddIng pops of colOr tO certaIn IteMS and tO skIn tonEs to adD IntensIty, we took ThINgs sceNE by scenE, WItH eacH having its own storY AnD Distinct mood. DuRing thE mORe TENse SceNes, we wanteD tHe audIEnce to bE A lITTLe uNComfortable, juSt like the chARacTers. To AcHieVE this wE incrEaSEd tHe contrast aNd heLd back on tHe satuRAtion of THe skin tOnes a bIt. WE alSo adDEd SoMe bLuE To tHEsE scENes And paid sPeCiAl attEntiON TO The cOnvIct's Blue jUmpsuits. DaVinCi REsolVE's nOde-baSed stRuctUrE was iNcrediBly heLpFul in this regard, As it Allowed me To hAvE a hIgH degrEE of conTroL ovEr separAte elemENts In EACH sCene.

"One of the best thInGS AbOut workiNg with NOdEs IN DaVinci reSolVe is THAt I caN creATe Complex nOde chaINs WiTh the StIlLs and POwErgRadE funcTIons, Which aLlows me tO desiGN tools that I can STore and re-use oN OtHER sCEnes And Even in other ProjECts. IN essENcE, I'm CReatiNg my oWn SEt OF grading tools. I have a WhOle suiTe of tHem and I build oN them with eACH Project. THey sAVe ME a ton of time wheN I'm grAding," explaINs Taylor.

"contrOlling thE skin toneS WAs very imPorTanT wiTh tHIS pRoject, especiaLLY sinCe We went wIth A varyinG deGreE of DesAtUration of Our envirOnMeNtS. BY usIng DavInci ResoLvE's qUaLifIcatiON and trAckinG tooLs i hAD thE controL i nEEDed tO iSoLate And AdJust sKin tONes And otheR elements IndIViduAlLy, AccordiNg to the mood of ThE scene.

UltiMaTelY, we werE GOing for a Moderately desaturated woRLd with cHarActerS thaT stood out But Were stIll A Part of Their eNviroNmEnt, AND the cONTrOl tHaT DaVinci ReSOLve'S tool SeT offEred us iS what allowed us to geT TheRe," describes TaYloR.

AmpLIFyIng eFfECts WiTH FuSIOn

Along with direCting the fiLm, cOnNelly also gOT crEaTive witH the filM's visUAl effecTs (VFX) usinG BlackmagIc desiGN'S FuSion.

"Our posT budget wAs tiny and IT didn'T AlLow foR brInging vFx peOple oNboard," EXplAins COnnellY. "WE knew tHat goInG in so we tRied to make sure everythinG was prActicAl aNd 'in-camerA.' HoWEveR, when the eDit sTarted comiNg tOgeTher I ReaLIzed tHere WAs An oPPortuNity TO deepen thE ToNe wE WErE going for
 principal photography beg an. This p roces s t urn ed  out  tobe paramount t o  est ablishing a final look  forth e  fil m ,"  says  Taylor . 
" A fte rau dit io n in g a h and ful ofcolor trea tme nt s, we settle d  o n a look f orthe film bydes aturat in g t h e bac kgr oundand ad d ing po ps of col or to cer t ain ite m s  a nd t o skin tones to a d di ntensity, we t ook th in g ss c ene  by  scene, wi th  each havingi ts o w n s t ory and disti nct mood. D u rin g themo ret ense s cenes ,w e w anted the a udie nce to be  a lit t le unco m fortabl e, jus t l ike  the ch ar act er s . T o  a chi e vethis wein cr eased  the c o n tras t a nd h eld b ack on the sa tur atio n  of  theskintone sa bit . We a lso a dd ed some blue to  the se scenes  an dpai dspeci a l atte nti onto theconvict ' s b lu e j um psuits. DaVinci Re so l v e' s node-b ased s t ru ct u re was i nc red ibly h elpfu l in th is regar d, asi tal lowed m eto hav ea h igh  degr e e of  contr ol oversepar a te elements in each scene.
" On e of thebes t things ab outw orki ng w i th  no d es in  DaVi nc i  R e solve is that I can  c reatecompl ex node chain s with the S t ills and  Pow e rg r ade functions,  whic h allows m e  to desi gn to ols that  I can st o r e and re -us e o n o the r sc enes and even i n ot he r proje cts . In es sen ce,  I' m c re ating myown setof  g ra di ngtools .  I haveawho le  su ite o f  themand I  bui ld  o n  th em with ea c h  pro je ct . Th eysa ve me  a t o n o f timewhen I'mgra d ing, "ex plainsTaylor.

"Con tr olling the  s kin  tones w as veryimportant with this pro j ect, es pec ially  sin ce we wen t w ith avar y ing de gree o f des at ura t i on of o ur  en vi ronments.B y  us ing D aV inci  Resolv e's qualificationa ndtracking tool s I  had t he  co n tr o l I  n e ede d to isolate andadjust ski nt on es and oth e r e le ments i ndividu ally, accordi ng to the  mood ofth e sc e n e.
Ultimatel y, we we re goingf or am od erate lydesatu ra ted  worl d with cha racte rs tha tstoodout b ut  were st ill a part of their env ironme nt, a ndthe contr olt hat  DaVinciReso lve's tool  se t o ffere d u s  is w hata ll owe d  us t o ge t  there,"d es cri b e sTaylor.

Am p l i fyi ng Ef fec t s with  Fus ion

Along with d i recting the fi lm,C o nne lly also  g ot creative wi thth e film's v is ual effects  (VFX) u si n g Bla ckmagi c Desi gn's Fu s i on . 

"Our  pos t b udget was  ti ny and itdi dn ' t allo w fo rbringi ng VFX peop l e  onboard," expla ins C o n nelly .  "W e kne wthat go i ng i n so we tr ied to make  sureever ythin g was p ra ctical  an d'in-camera . ' However , whe n the e di t st art ed com ingt o gethe r Ire ali zed there w as an  o p por tuni ty to  d eepe n the ton e  we were  go i ng for
 principal_photography began._This process turned out_to be_paramount_to establishing_a_final look for_the film," says_Taylor.

"After auditioning a handful_of color treatments,_we_settled on a look for the film by desaturating the background and adding pops_of_color to_certain_items_and to skin tones to_add intensity, we took things_scene by_scene, with each having its own story and_distinct_mood. During the_more tense scenes, we wanted the audience to be_a little uncomfortable, just like the_characters. To achieve_this_we_increased the contrast and_held back on the saturation of_the skin tones a bit. We_also added some blue to these scenes_and paid special attention to the_convict's blue jumpsuits. DaVinci Resolve's_node-based structure_was incredibly helpful in this_regard, as it_allowed me_to have a_high degree of control over separate_elements in each_scene.

"One of the best things about_working_with nodes in_DaVinci_Resolve_is that_I can create_complex_node chains_with_the Stills and Powergrade functions, which_allows_me to design tools that I can_store and re-use on_other_scenes and even in_other projects. In essence, I'm_creating my own set of grading_tools. I_have a_whole suite of them and I build on them with each_project. They save me a ton_of time when I'm_grading," explains_Taylor.

"Controlling_the skin tones_was_very important_with this project, especially since we went_with a_varying degree of desaturation of our_environments. By using DaVinci_Resolve's_qualification and tracking tools I had_the control I needed to isolate_and adjust skin tones and_other_elements_individually, according to the mood_of the scene.

Ultimately, we were going_for a moderately_desaturated world with characters that stood out_but_were still a part of their_environment,_and the control that DaVinci Resolve's_tool_set_offered us is what allowed_us to get there," describes Taylor.

Amplifying_Effects with Fusion

Along with directing the film, Connelly also_got creative with_the film's visual effects (VFX)_using_Blackmagic_Design's Fusion.

"Our post budget was tiny and it didn't allow_for bringing_VFX people onboard,"_explains Connelly. "We knew that going in so we tried_to make sure everything was practical and_'in-camera.' However, when the edit started coming together I realized there_was an opportunity to deepen the tone we_were going for