colour – Page 2

Daddy And The Warlord

Posted on April 30, 2019May 4, 2025 by admin

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Daddy and the Warlord (2019), directed by Shamira Raphaëla and co-directed by journalist Clarice Gargard, is a poignant documentary exploring the complexities of personal and political legacies. Clarice embarks on a journey to uncover the truth about her father, who served under three corrupt leaders, including the notorious war criminal Charles Taylor, during Liberia’s tumultuous history. As she delves deeper, Clarice confronts the blurred lines between patriotism, power, and moral compromise, challenging her perception of heroism and villainy.

The film delves into themes of war, rebellion, and the fading of ideals in times of conflict.

For this film cinematographer Jefrim Rothuizen used RGB LED panels to create surreal palettes evoking a fever dream of colour. During colourgrading we leaned into this heavily. Careful preprocessing and denoising of the Sony A7s II footage allowed us to really push the material to its limits.

Credits

written and directed by	Shamira Raphaëla & Clarice Gargard
cinematography	Jefrim Rothuizen
editing	Gert van Berckelaer
producer	Michiel van Erp, Monique Busman
production company	De Familie Film & TV

Instant Dreams

Posted on October 29, 2017December 31, 2024 by admin

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Instant Dreams is a feature documentary by Willem Baptist (who I collaborated with on many of his previous films, like Wild boar and I’m Never Afraid!) about the fascination and love for Polaroids. When Polaroid announced the end of instant film in 2008, the last still working factory was bought by a small group of enthusiasts.

Among them is the retired scientist Stephen Herchen who previously collaborated with the inventor of Polaroid and is still trying to unravel the secret of the lost chemical formula.

Instant Dreams was lensed by Gregor Meerman, using his Arri Alexa to shoot absolutely stunning material. I’ve received a lot of compliments on the look of Instant Dreams, but really Gregor deserves most the credit. Some additional material was shot using a drone, some GH4 on a gimbal and some Black Magic Pocket Cinema camera – which needed to be seamlessly matched with the Arri Alexa material. And there was a substantial amount of archive footages – some of it scanned from the original 16mm negatives, but other elements were pulled directly off Youtube. So a lot of additional work was done restoring the material to hold up in cinematic projection.

Credits

written and directed by	Jasper Coppes
cinematographer
editor	Tralala
producer	Lonnie van Brummelen
production company	Vriza

Ninnoc

Posted on December 29, 2015December 30, 2024 by admin

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Why do you have to do what everyone else does and why does everyone have to look the same? Ninnoc struggles when she is in a group. She doesn’t just want to adapt to the others, but she’s also afraid of being excluded. Can you deviate in a group? Or will you then end up alone?

In the documentary Ninnoc you crawl in Ninnoc’s head. And find her in an empty school. Can she escape from the group or does she always carry it with her? What part of herself does Ninnoc show and what does she keep hidden?

When director Niki, cinematographer Jefrim and I spoke about the film we immediately agreed that even though the subject and images can easily become dark and haunting, we really wanted the look to also have a soft and romantic side. So even though the lighting is sometimes dramatic we created a more pastel airy look that brings out the softer side of Ninnoc.

In addition to colour, I created some visual effects and did some small retouching.