Paul Harrison on crafting the grade: When I saw the offline edit of Gallows Pole I knew it was special. After an early collaboration with Shane Meadows and Danny Cohen BSC on Dead Man’s Shoes, I knew this was going to look beautiful once we’d finished with it.
Our approach for each scene was to start by capturing the feel for the lighting/costumes and art direction, then we added nuance, lifting or adding colour or shadow to create a palette that worked with the show overall but gave each scene its own identity. The look evolved each time we visited a scene, it was a process of honing in incrementally to reach the final look.
Owen Hulme on achieving the most out of the online: Working with Shane Meadows is always a collaborative process and we enjoyed the same on The Gallows Pole. As well as clean up on the period piece we also had fun working across some complex multi layered sequences and finessing a psychedelic end credit treatment.
Paul Harrison on crafting the grade: Occasionally a project comes along that is really exciting, and as a Colourist I know it will be an absolute joy to grade. When I saw the offline edit of The Gallows Pole I knew it was special.
We were able to draw on the work of the old masters for inspiration; it’s rare that a Caravaggio comes to life on my monitor! The quality of the light in some scenes was breathtaking. I felt like each frame was a painting at times.
The world of David and the Stag-men was something else entirely, we tried a few different routes but ended up feeling that
