Case Study: The Hide
The Hide © 2008 Poisson Rouge Pictures
The Hide, a razor sharp rendering of Tim Whitnall’s play about a couple of birdwatchers, is Marek Losey’s first film. He’s a successful advertising man, the winner of a Saatchi Award and creator of high-profile campaigns for Cadburys, Diesel and Coca Cola. It’s not what you’d expect from the person who matched Matt Lucas and Creme Eggs. A brilliantly balanced, understated drama, The Hide is a prize of a film. (Film 4 Review) Adrian Seery, Rushes’ Colourist and Director of Telecine, was delighted to be able to grade The Hide, Marek Losey’s debut feature. In this dark thriller, Roy Tunt (Alex MacQueen), a prematurely aged, mildly obsessive-compulsive bird watcher, receives an unexpected visit to his bird-hide from a wild-looking stranger Dave John (Phil Campbell). Dave is seeking refuge from a storm and the two men soon discover that they have a good deal in common but, after news of a police manhunt, their fragile relationship is driven to a tragic conclusion. The engrossing film, produced by Poisson Rouge Pictures and Solution Films, was shot at two main locations using the Arri D-20 camera by cinematographer George Richmond, who has recently worked as Camera Operator on James Bond film “Quantum of Solace” and The Coen Brothers’
Adrian Seery
“Burn After Reading”. Seery, who last year won the award for Best Telecine in a Music Video at the UK Music Video Awards for his work on KT Tunstall’s “If Only”, comments, “Shooting on uncompressed HD on an Arri D-20 was perfect as this gives you the latitude to really push the grade further as opposed to any HD format.” The interior of the hide was constructed in the studio and George Richmond lit the set to recreate the natural light. Adrian continues, “In post, we sought to maintain this light, keeping it consistent so as not to distract from the drama. Once we got the right look we just worked to maintain it as we didn’t want the grading to intrude on the story, rather complement and support the foreboding mood of the piece.” “The exterior shots we had a lot more freedom with. They were really quite spectacular shots of the Suffolk landscapes. It was important for the grading to reflect the mood of the film and never compete with it.” The film premiered to critical acclaim at the Dinard British Film Festival 2008. www.thehidethemovie.com For information about Colour Grading at Rushes contact Adrian Seery on: 020 7437 8676 31