Behind-the-Post

Find out more about the post production work our creatives discuss their work on the series.

Sonny Sheridan, Senior Colourist

“Series 2 of ‘Am I Being Unreasonable?’ picks up right where we left off in the first series and the team and I wanted to ensure the same look and feel of the show was translated to the second series.

The grade is really dictated by the scenes and the performances; the base grade is natural however the colours sit on the edge of hyperreal as it is then pushed towards either a warm or cold look depending on how a scene is playing out. This really adds to the darkness and intensity of the show and it subconsciously makes the audience uncomfortable without them knowing.

Throughout the series, there are a number of flashbacks and I wanted to ensure there was a subtle change to the grade for the audience to know where we are in the story. I had to navigate these time changes with the differing looks whilst ensuring the overall style was maintained throughout.

As these flashbacks are from series 1, I made some tweaks to the original grade, pushing it slightly more than the scenes set in present day. Using Baselight’s Chroma Warp effect, I added a vignette to these sequences, but the effect displaces the light on the edges of the frame which is subtle enough for the audience to notice without a drastic change in the overall look and feel.

‘Am I Being Unreasonable?’ was such an amazing project to be involved with. The writing is excellent, and I couldn’t help but get excited to make the series as beautiful as possible.”

Dicky Everton, Senior Online Editor

“For me, one of the key differences between factual and scripted in on-line, is an intensified focus on the actors and their performances. The Producers and I worked to ensure that series two continued with the same glossy feel as series one, and this was achieved by enhancing the mise-en-scène.

This series was shot 2:1 UHD using anamorphic primes. This gave me the flexibility and latitude to punch in and reframe selected shots (I was mastering HD), allowed the director to re-position performers and subtly adjust eyelines to create compelling drama.

For the flashback sequences, Sonny and I designed a grade look and ‘burn-through’ transitions which clearly differentiate flashbacks from current time. One flashback lasts nearly five minutes, so it was important to keep this look clear, so the viewer doesn’t get lost in the narrative.

I undertook all the usual on-line work, such as stabilising, re-framing, horizon/vertical correction, using the Symphony toolset. With Boris Mocha Pro I was able to create clean plates for crew and equipment removal. The series is shot predominantly hand-held, so the excellent tracking in Mocha Pro was hugely welcomed, with clean plates or extra elements appearing seamlessly in the scene. The TV, laptop and phone screen replacements were tracked in a similar way, then GFX layers applied, pinned, tracked, roto for foreground occlusion, and a final re-comp of screen for highlights.

I’m delighted with all six episodes, and looking forward to seeing the audience response to the return of this highly-acclaimed comedy series.”

Envy Credits

Grading / Colour

Adding a splash of colour to your project is the Grading team. Our team can design particular looks to match the visions of how you want your show to look.

We have six Baselight TWO colour grading suites all with the latest Dolby and Sony monitoring allowing our grading team to work at resolutions from HD up to 4K HDR. All suites are connected to a high-speed SAN and supported by a Baselight Assist, allowing imports/exports to happen in the background without interrupting the session.

Online

Once the Offline is completed, our experienced Online team will bring your project to life with their knowledge and skills.

Our online team operate across ten Avid Symphony suites and two Autodesk Flame systems all connected via high performance shared storage, working at resolutions from HD up to 4K HDR and beyond if required. They offer the latest plugins from both Boris and Sapphire, as well as the highest quality broadcast monitoring available. The team are highly experienced in large-scale multi-episodic productions as well as fast turnaround ‘day of transmission’ style projects.