Generated images arrive with no light and no story of their own. Through grading I bring them back to a single light and a single palette, remove the synthetic look from skin and surfaces, and make them sit alongside real footage.
The Damned, a film by Roberto Minervini. 1862, the American Civil War: a group of volunteer soldiers is sent to the western frontier. A film of waiting and of faces, shot with natural light only and vintage lenses.
Director Roberto MinerviniYear 2024Role Colorist
Color grading
A natural palette with cool tones, to convey the hostility of the landscape and the torment of those who cross it. The colour had to make you feel an enemy always present yet never seen.
The light keeps changing in colour, intensity and direction, from dawn to dusk: the grading follows these shifts instead of evening them out, down to the deep darkness of night in the ambush scene. In the finale, on the snow, the work was a painter’s: a study of light and shadow before colour.
Grading and finishing in DaVinci Resolve Studio, with cinematographer Carlos Alfonso Corral. For the ambush, shot over fifteen days at blue hour, I followed the progression of the light down to the darkness of night using printer lights and Magic Mask. For the snow in the finale I used DCTLs and the grisaille technique, to study light and shadow as in painting.
Sentinel, a film by Stefano Milla. Years after an alien invasion that nearly wiped out humanity, the survivors live in a secret base on the Moon: three heroes attempt a journey through time to save them.
Director Stefano MillaYear 2024Role Colorist
DirectorStefano Milla
ScreenplayKatherine Tomlinson
CinematographyJuan Rolando, Alessandro Caldana
ColoristNatalia Raguseo
Visual effectsEnrico De Palo, Lorenzo Pautasso
CastJason R. Moore, Ellie Patrikios, Neil Cole, Michael Paré
ProductionMolteni Media Productions, American Widescreen Pictures
Colour is where my artistic training meets cinema. Through color correction and color grading, I work on the light, the nuances and the atmosphere of images to shape the visual identity of every project.
An in-depth look at Roberto Minervini’s film and at the importance of painterly work in building its images. Colour becomes an integral part of the story’s visual identity, between realism and vision.
COLORIST NATALIA RAGUSEO TALKS ABOUT HER CREATIVE PROCESS WITH DAVINCI RESOLVE STUDIO
In her interview with Blackmagic Design, Natalia Raguseo describes her approach to grading Roberto Minervini’s film, her work with DaVinci Resolve Studio and the importance of colour in building a film’s atmosphere.
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