Filmlab turns to Baselight for subtle and sophisticated grade on Oscar nominee, Son of Saul

Filmlab turns to Baselight for subtle and sophisticated grade on Oscar nominee, Son of Saul
February 24, 2016 carolineshawley

[24 February 2016]

Hungary’s Magyar Filmlabor posts Son of Saul from 35mm film shoot to DCP

Son of Saul, László Nemes’ Golden Globe winner, got its subtle grading atmosphere from one of the FilmLight Baselight suites at Budapest facility Magyar Filmlabor (Hungarian Filmlab). The harrowing story, also nominated for best foreign language Oscar, is set in the horrors of Auschwitz in 1944. The mood is underlined by a stark and understated look, thanks to being shot on 35mm film.

Son of Saul is a very raw story. To capture the emotions that underpin the movie, Nemes set about what seems today like a revolutionary analogue to digital workflow: he not only shot the feature on film, but he finished and reviewed it on film, too. Having achieved the visual style that Nemes and the movie’s DoP Mátyás Erdély wanted in the film print, colourist László Kovács set about recreating this in Baselight.

“We never wanted to make a ‘pretty’ film,” said Erdély. “We were aiming for something very raw and very simple. It was treated with the utmost care by László, and I was very impressed by what we were able to accomplish.”

Son of Saul, winner of the Golden Globe for best foreign language film, was made on a tight budget and shot using Kodak stocks in ARRI cameras. Post at Magyar Filmlabor saw a combination of traditional colour timing and digital grading to achieve the required look. “Even in the DI we mainly used primary colour correction,” according to Erdély. “We wanted to limit ourselves to the most essential tools.

“The look itself may be very simple, but the way it was achieved was very sophisticated,” he added. “We did not want audiences to even realise it had been graded, which required a really subtle approach. There was a lot of creativity and talent involved – but the outcome looks like there wasn’t!”

For the post, the 35mm negatives were digitised at 4k resolution by a FilmLight Northlight scanner, allowing the film’s producers to create a 4k digital master from which both 35mm release prints and 2K DCP files were derived. Close liaison between Magyar Filmlabor’s colourists and colour timers ensured the two deliverables were a perfect match.

Magyar Filmlabor has long been an advocate of the power of FilmLight’s post-production tools: its first Baselight ONE system is serial number 4. The company also has a Baselight FOUR for major projects such as Son of Saul. It is the leading post house in Hungary, with work flooding in from western as well as eastern Europe.

Son of SaulSaul Fia in its original Hungarian – has won numerous awards including four at the 2015 Cannes Film Festival where it was first seen. It went on theatrical release on 18 December 2015.

Images courtesy of Laokoon Filmgroup.