"12 Angry Lebanese" is a documentary directed by Zeina Daccache. The documentary talks about a theater experience with the prisoners of Roumieh prison in Lebanon known as Catharsis Drama Therapy. It was edited by Michèle Tyan (Djinn House Production) in 2009.
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I did the Color Correction and Conforming of this 78 minutes film on Avid Media Composer.
Technically, a few masks were added to lighten or darken some areas with an animation for correcting a movement if necessary. I also changed the color temperature of some ranges to neutralize or valorize them.
The way I thought of adding coloring value to the film was very delicate. The characters were personalized and differenciated and the mood had to follow the feeling that has a clear variation during the film.
Telling a crime that I did in front of the camera is surely a very tough moment so the coloring language would be well contrasted to enlarge the difference between clearness and darkness.
At contrary while gaining back one's self estime with joyfull moments and meditating moments, the language would leave the grey scale and soften the colors with each others to give a feeling of lightness, of softness.
Talking with the therapist and the others about my interior sufferings during a therapy session has different levels and differents dynamics for color correction. This scene had a very important trust element and for this the light had to be clear and soft, but the blacks were very sharp and blocked at some point. Finding homogeneity is necessary though. So when you see too much differences in one same location from a scene to another, the coloring risks to be visible and this was something to avoid. So at some point I had to balance it all.
All rights reserved ©
I did the Color Correction and Conforming of this 78 minutes film on Avid Media Composer.
Technically, a few masks were added to lighten or darken some areas with an animation for correcting a movement if necessary. I also changed the color temperature of some ranges to neutralize or valorize them.
The way I thought of adding coloring value to the film was very delicate. The characters were personalized and differenciated and the mood had to follow the feeling that has a clear variation during the film.
Telling a crime that I did in front of the camera is surely a very tough moment so the coloring language would be well contrasted to enlarge the difference between clearness and darkness.
At contrary while gaining back one's self estime with joyfull moments and meditating moments, the language would leave the grey scale and soften the colors with each others to give a feeling of lightness, of softness.
Talking with the therapist and the others about my interior sufferings during a therapy session has different levels and differents dynamics for color correction. This scene had a very important trust element and for this the light had to be clear and soft, but the blacks were very sharp and blocked at some point. Finding homogeneity is necessary though. So when you see too much differences in one same location from a scene to another, the coloring risks to be visible and this was something to avoid. So at some point I had to balance it all.
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