For the first time filmmaker and Director, Leonardo Dalessandri jumped into the deep end and moved his entire post-production workflow into DaVinci Resolve 14 Studio for the new Corona Extra commercial “Este Espíritu.” We are talking Editing, and Color Grading.
With more than two weeks’ worth of rushes to sort through, the editorial workflow was split two. “The first step was to review everything we’d shot. After making our initial shot selection, we were then able to start building a skeleton cut around the lyrics. The edit was crucial because it helps to create the feeling of kinetic energy that I like in my films. It doesn’t just matter which shot you decide on, but also the shots that come before and after. The same movement has to follow through,” he said.
Client: CoronaAgency: Leo BurnettDirector: Leonardo DalessandriMusic: "Este Espiritu" La Banda Baston + SotomayorProduction Company: MediaMonksCreative Support: Irem KilicalProducer: Matt GordonDOP: Fatih Turker and Filippo Chiesa 1st AD: Luciano Privitera, Jolien SnyersEditor: Dylan Haigh, Roberto ClynesLine Producer: Juan Carlos La Madrid, AdrenoramaShot on Sony, Phantom Flex, Varicam + Leica Summilux-C LensesEdited and graded with DaVinci Resolve 14 on Eizo CG318 monitors
Posted by Leonardo Dalessandri on Thursday, November 16, 2017
He continues: “I didn’t imagine that it would be as much fun as it was to edit in Resolve. The organization of clips, for example, gives you a feeling of complete control over everything. The ability to search and browse for clips and then group them using Smart Bins based on a particular file attribute or metadata is brilliantly efficient.”
“Although I knew my previous approach to post was slow and inefficient I’d been resistant to the idea of change. However the possibility of opening a single application for every aspect of picture post really appealed. Version 14 of DaVinci Resolve especially suited the way I like to work, as there is no offline or online editorial process in my editing workflow,” begins Leonardo.
According to Dalessandri. “Not only are things in Resolve faster, but they are also better and more efficient, allowing for more creative precision than I thought could be possible during post.”
The entire commercial was shot in 4K using a wide variety of different cameras, according to Dalessandri. “But no matter what codec or format we threw at it, Resolve handled it all. Regardless of resolution, it makes sure you can always work as efficiently as possible, and in the best possible way.”
“Resolve 14 really is an incredible piece of software; I can now take a project from edit to grade, and even add simple effects such as shot stabilization, using one piece of software,” concludes Leonardo. “The speed advantages of working this way are enormous. It is truly a game changer.”
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