The First 48: A Colorist’s Journey with The 48 Hour Film Project
October 26, 2023The Mission:
When I agreed to assist director Rodrigo Torres of Singularity Film for this year’s 48 Hour Film Project competition, I knew the task would be challenging, to say the least. It would be a race against the clock for groups of filmmakers to conceive, shoot, edit, and deliver a completed short film in just 48 hours. It would be a pressure cooker of creativity, and an endurance test of dedication, collaboration, and sleepless nights.
The 48 Hour Film Project: A Creative Marathon
To ensure that no team was able to game the time limit, you were assigned a genre at 7:30 pm on Friday, along with a character name and a line of dialog that must be included in the film, and given until 7:30 on Sunday to submit the project. Although, Rod had already gathered crew, talent, and location beforehand, he knew the challenge would be to make whatever specifications The 48 Hour Film Project assigned to him conform to the resources he had. Our genre was “doppleganger,” our character name was “Bart,” and our required line was “Um, that tastes good.” The clock was ticking.
Creating the Visual Look
Over the course of Friday night, Rod and team crafted a whimsical story of two roommates that would tip into the surreal and would rely heavily upon the improvisational skills of all the talent involved. I was the colorist on the film. My role was to craft the “look” of the film through color grading, a task that requires a keen eye for detail and a deep understanding of how color influences the audience’s emotional connection to the story. Rod expressed that he wanted two looks for the film. For the main scenes, he drew inspiration from the works of filmmakers like Wes Anderson, who is known for his meticulously crafted color palettes, but as the film tipped into the more surreal he wanted to reference Gaspar Noé, whose films “Climax” and “Enter the Void” are renowned for their hyper-color, neon-soaked surrealism.
To capture the essence of these influences, I worked to create vibrant, hypnotic, and contrasting color palettes. I wanted the film to be a visual journey that takes the audience on a surreal adventure, filled with striking, saturated colors that intensify the narrative and mirror the film’s dreamlike quality.
Reflecting a Character’s Essence Through Color
One of the more intriguing challenges as a colorist was the section of the film that featured an insistent door-to-door evangelical teenager, played by actor Nastashka Havins. Here I wanted to convey an almost angelic appearance by using softer tones and glows, as a nod to the character and her religious overtones.
The Last 48:
In the end, working on “The Other Bart of Me” took every hour of the 48 as we got the film submitted just before the deadline. The project was an exhilarating experience, showcasing the power of creativity, teamwork, and storytelling. As a colorist, I had the privilege of contributing to the film’s visual impact, bringing the director’s vision to life through color.
And now, I’m incredibly proud to share that “The Other Bart of Me” was recognized at the 48 Hour Film Project Houston by winning Best Editor, Best Special Effects, and Best Director. I’m so proud to have worked with an immensely talented group, and this recognition is a testament to their hard work and dedication.
In the fast-paced world of filmmaking, collaboration and dedication are essential. “The Other Bart of Me” stands as a testament to what a team of Texan creatives can achieve in just 48 hours.
Dremaceo Giles is a filmmaker, editor, and artist from Houston, Texas. Contact him to inquire about your next creative project.