Picture Shop colorists in Los Angeles proudly provided color finishing on 5 short films from the Ghetto Film School annual course with Huntington Library, Art Museum, and Botanical GardensPicture Shop partnered with Ghetto Film School, an award-winning non-profit founded in 2000 to educate, develop, and celebrate the next generation of storytellers, to provide post production guidance and color finishing for the Los Angeles Fellows program. The Fellows were empowered to shoot their shorts on 16mm film with the Bolex Camera. The collaboration allowed for bold new voices to work with established and acclaimed colorists.Prior to production, the Fellows took an online class with Senior Colorist Tim Vincent that covered the history of color finishing, the craft, and how to best prepare for a streamlined process from pre to post.Discover the 5 short films:
ARIZONA DREAMING
- Filmmaker: Matthius Renteria (quoted)
- Colorist: Frederik Bokkenheuser
The story
“The short is about the push and pull of coming into adulthood and longing for the past when it’s too late. The contrasts between then and now.”
The look
“My vision for the look was a braid of three things-- I wanted to be able to connect three worlds into one where they can crash and melt into each other. I knew I wanted black and white to represent the present-- a grave state; and color to bring the happy memories in with greater contrast. I also really wanted to bring the audience in as close as possible. So, a lot of the shots in Arizona Dreaming are close ups to let us indulge in the environment.”
The color
“Getting the chance to collaborate with Frederik from Picture Shop was really cool. He’s a very talented colorist and it made me much more aware of the details in lighting and color that can totally change the attention and reaction of the audience. Also learning all the little tricks to get an image to the image you want was really useful.”
BOONDOCK KING
- Filmmaker: John Dayot (quoted)
- Colorist: Tony Smith
The story
“My background is Filipino. As a filmmaker, I love to explore every aspect of filmmaking from writing, directing, and editing. Boondock King is an experimental film exploring how every individual will always be connected to their inner child somewhere in their hearts. To me, it’s a personal collage of everything I know as a human being and as an artist.”
The look
“My vision was to recreate my memories of the Philippines. I wanted to capture my personal ‘nostalgia’ through film and sound.”
The color
“Working with Tony Smith was an insightful experience. To me, it was the first time I felt like I was collaborating with a professional artist. My favorite part of the whole experience was realizing how post-production is more about collaboration, communication, and testing every possible outcome. Tony taught me it’s okay to not like the product at first, and it’s okay to be lost on your project’s direction, as long as you try everything to recreate your vision.”
ALMA VIEJA
- Filmmaker: Maximus Corona (quoted)
- Colorist: Maxine Gervais
The story
“Alma Vieja is a documentary about my grandfather, who never got to meet his father, who passed away early in life. He imagines what it’s like to share special moments that most men got to have with their dad. The question my movie asks is: what could his father have told to him/shown to him during key moments in his life?”
The look
“The look captures a naturalistic darkness that is sometimes left out of happy moments in one’s life. For some shots in the film, I wanted to make an almost liminal space feeling, showing how so much joy in a moment can also give the viewer such sadness.”
The color
“I thought Picture Shop was wonderful, Maxine took what was underexposed, sometimes poorly lit shots, and turned them into a look for the film that I didn’t imagine was possible. It was the final step in this film’s long journey and I’m glad I had the opportunity to sit in while the magic was being done.”
TU TOQUE / YOUR TOUCH
- Filmmaker: Xochilt Garcia (quoted)
- Colorist: George Manno
The story
“Tu Toque/ Your Touch is a 16mm short film about the conflicting elements that hands could provide. It explores the different relationships that one could have with oneself through the perspective of a grandmother and her granddaughter.”
The look
“My vision for the look consisted of emphasis on warm familial tones as well as pops of red in contrast to the green surroundings. The reds were necessary elements that further established the relationship between the grandma and granddaughter.”
The color
“Working with George and Picture Shop was a very insightful and educational experience since I was able to get a closer look into the color control that one can have in post production.”
METALLIC GHOSTS: LOW AND SLOW
- Filmmaker: Danny Vasquez (quoted)
- Colorist: Tim Vincent
The story
“It’s about the Chicano culture that surrounds lowriders/bombs. I decided to dedicate my film to lowriders because my father has always been starstruck by them, and I not only wanted to learn more about the cars and the people behind them myself, but also make this film as a tribute to my father, Daniel Vasquez.”
The look
“I wanted every car in the frame to pop with color. I wanted to capture the same kind of beauty and shine the cars have in real life. I also wanted to make the film feel warm and cozy, a nice heartwarming feeling. To accomplish this, I integrated oldies into the film’s soundtrack.”
The color
“Working with Tim Vincent was an experience beyond any other I’ve had in my filmmaking career. I got to learn what it means to be a colorist, and how the way a movie is colored can change it from a sitcom to a horror flick. Seeing my film thrive to its full potential for color was something I never thought I’d be able to see. I’m very grateful to have had this experience.”
For more information about Ghetto Film School, please visit: www.ghettofilm.org