DaVinci Resolve Studio, key to editing, grading and sound mixing of 'Winny'

Genta Tamaki (Interceptor) and Takamitsu Hoshiko (DI Factory) chose DaVinci Resolve Studio (Blackmagic Design) to execute the editing, grading, visual effects and sound mixing of the feature film 'Winny'.

Starring Masahiro Higashide and Takahiro Miura, Guilty tells the story of Isamu Kaneko, the developer of the program Guilty, which has allowed file sharing since the early 2000s and whose use has grown exponentially. Winny's features encouraged countless users to upload and copy movies, video games or music illegally, and the consequent leak of a large amount of information and viruses. This situation led to problems in the social sphere, and the developer, Kaneko, was arrested on charges of aiding and abetting copyright infringement. Consequently, a legal advisory team was convened in order to protect the future and rights of the unjustly arrested programmer.

For mounting and grading the tape, Genta Tamaki y Takamitshu Hoshiko they trusted DaVinci Resolve Studio, as well as on the devices DaVinci Resolve Editor Keyboard, DaVinci Resolve Speed Editor, Resolve Advanced Panel y DaVinci Resolve Micro Panel. Hoshiko provides more details on what the workflow was like. Guilty, which benefited greatly from remote processes: "On this film, we used DaVinci Resolve for remote editing, so the workflow for subsequent color corrections was very simple. Typically, editors work on provisional material and export the data for the final edit in XML or AAF format. With these files and the reference images, I set about shaping the project so that it was ready for grading in DaVinci Resolve."

In this dynamic the option was key file, which generates the project file and the media files used in a single package. As Tamaki comments: “This way, Hoshiko only needed to open the project file I had given her and everything she needed was organized on the timeline.”

The color correction of the tape was full of challenging moments, which Hoshiko's talent and DaVinci Resolve's solvency were able to overcome. As the colorist himself tells it: "In this case, I converted daytime scenes into nighttime ones. The interrogation scene was graded so that it looked like it was filmed at night. This technique gave it a distinctive look from what you usually see in night shots shot with artificial light, and the director of photography, Kentaro Kishi, was pleased with the interesting aesthetic we achieved in the scene."

https://youtu.be/9uxA5WOS6OY