Cannes winner 'Compartment No. 6', graded with DaVinci Resolve

Colorist Sandra Klass decided to color grade the film Compartment no. 6, winner of the Grand Jury Prize at the last カンヌ国際映画祭、とブラックマジックデザインの DaVinci Resolve ソフトウェア。

監督 ユホ・クオスマネン and with cinematography by JPパッシ, the film is an adaptation of the novel written by ピンクのような in 2011. The film, which was shot on コダック 500T negatives, tells the story of a young Finnish woman who takes a train from Moscow to visit an archaeological site in the Arctic Circle. Forced to travel in the same compartment with a stranger, the chance encounter gradually reconciles these two people at odds.

Klass emphasizes that from the very beginning they pursued the goal of achieving in Compartment no. 6 the “feel of the 90s movies.” “We liked the early scans, over saturated, with different mixed color sources,” she says.

The challenge of night shoots

One of the main challenges for クラス was the slightly underexposed dark areas, a consequence of filming night shots on the train: “Inevitably, some expressions were lost in those scenes. So, I tracked windows onto faces and lit them up. However, this created digital noise over the existing film grain”.

Fortunately, the colorist was able to overcome this using ダヴィンチリゾルブ: “I was able to add selective noise reduction, which left some of the grain, so it looked natural with the rest of the frame, but otherwise hid the large push up in exposure.” Klass is fully satisfied with the use of Blackmagic’s software in production: “I am a huge fan of the secondary saturation, hue and luminance controls in DaVinci Resolve. Simple tools that allow for subtle changes.”

Films screened at Cannes that were graded with DaVinci Resolve

Main Competition

祝福された colored by Serge Anthony / M141

Bergman Island colored by Peter Bernaers / The Post Republic and Studio L’Equipe

Everything Went fine colored by Richard Deusy / M141

国旗の日 colored by Stefan Sonnenfeld / Company 3

Hytti nro 6 colored by Sandra Klass

レッドロケット colored by Alastor Arnold / Fotokem

ディバイド colored by Christophe Bousquet / M141

The French Dispatch colored by Gareth Spensley / Molinaire

The Restless colored by Veerle Zeelmaekers / Studio L’Equipe

ある視点から

ブルーバイユー colored by Tom Poole / Company 3

ゲイ・ワール colored by Junkun Sheng / Cutting Edge Pictures

Good Mother colored by Elie Akoka / M141 and won the Un Certain Regard Ensemble Prize

子羊 colored by Eggert Baldvinsson / TrickShot and won the Un Certain Regard Prize of Originality

小野田 colored by Gadiel Bendelac / Micro Climat Studios

The Innocents colored by Emil Eriksson / Zentropa

International Critics’ Week

Anaïs in Love colored by Serge Antony / M141

オルガ colored by Charles Freville / Micro Climat Studios

ソフト colored by Yov Moor / Micro Climat Studios

元気な若い女の子 colored by Richard Deusy / M141

Zero Fucks Given colored by Loup Brenta / Cobalt Films

Special Screenings

私たちよりも大きい colored by Richard Deusy / Lumières Numériques and Poly-Son

私の愛のモナムール, colored by Vincent Amor / Poly-Son

The Crusade colored by Richard Deusy / Poly-Son

Short Film

リリ・アローン colored by Yov Moor / Poly-Son

ブラックソルジャー colored by Charles Fréville / Poly-Son

Out of Competition

Bloody Oranges colored by Gadiel Bendelac / Micro Climat Studios

Stillwater colored by Tom Poole / Company 3

Midnight Screenings

シュープリームス colored by Mathieu Caplanne / Poly-Son

トラララ colored by Yov Moor / M141

カンヌプレミア

Hold me tight colored by Richard Deusy / Poly-Son

ビーチシネマ

トム・メディナ colored by Yov Moor / Poly-Son

Director’s Fortnight

A Brighter Tomorrow colored by Christophe Bousquet / Poly-Son

波の間 colored by Laurent Ripoll / Poly-Son

クララ・ソラ colored by Peter Bernaers / Studio L’Equipe

Our Men colored by Peter Bernaers / Cobalt Films

Returning to Reims by Amine Berrada / Micro Climat Studios

目の前の海 colored by Peter Bernaers / Cobalt Films

酸

王を打ち負かせよ colored by Alex Berman / Goldcrest Post NY

私は暇だ colored by Loup Brenta / Cobalt Films