#JOY DAVINCI RESOLVE PLUGIN SERIES#
One of the major challenges working on TV series are usually very tight deadlines. Including SDR Color Grading, HDR Color Grading, and Dolby Vision metadata trims! In fact, towards the end, there were three episodes that had MAJOR edit changes (to the point of changing sequences from one to another) and we were able to follow through with ease. In the case of this project we had the additional challenge of certain things being still changing until almost delivery day, so being able to constantly chase the cut in a reliable way was fundamental. With every project we do we use our internally-developed workflow to be able to provide editorial with as much time as possible to do the best possible cut. What were the major challenges you encountered working on the series and which piece of tech or even workflow approach helped you surpass them? At the end, the choice was to simplify it all, but we had some pretty fun animations that I wished more people could have seen! Im really excited to see a tool that lets you skip so many complicated parts of rigging so you get down to. Especially when we had to come up with new ways of playing with the “Mo” on every episode in real-time sessions. Joysticks and Sliders is such a joy to use.
Towards the end of the process we ended up doing the title design for the whole show and experimenting creatively a lot with Mo, so all the Comp3D, Text, and Animation tools also came real handy. The show was delivered in 4K HDR (Full Netflix IMF Workflow) so we did quite a lot of HDR-Specific color too! Either to bring back spikes of color, create separation, or bring color into the Outside of the selection. The Proportional hue selection tool was also used extensively. The same goes for the 4th HDR ball on the Primaries. I honestly think we used every single color tool available! :-) We are big fans of the Bands to control lower lights and make sure information is not lost. Which are your favourite Mistika colour tools and how did they help you achieve the final look of the series? Working with the director (Slick) and the creator of the show (Mo) was an absolute pleasure.īesides all of that, we are huge fans of what A24 and Netflix are producing, so it was a real treat all around to be able to work in this show. But even with that we barely had any color notes through the process. I am very comfortable with his style of shooting and our communication is always excellent, so it was a very exciting thing from the get go! Because of schedules and COVID, all the work had to happen remotely. Burton and I have worked together, and it feels like coming back home. Why do you consider Mo Series an interesting project?
We chatted with our founder, Juan Cabrera about the overall creative process and look development and also touched topics related with remote workflows and deliveries to Netflix. Color grading and finishing was done at LightBender Post in Santa Monica with Juan Cabrera and Fran Lorite deploying SGO’s full-finishing and color grading solutions Mistika Ultima and Boutique. Now streaming on Netflix and produced by A24, “Mo” is a comedy series created by Mo Amer and Ramy Youssef, directed by Slick Naim and DP’d by Timothy A.
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