SODOMITES / CARNE
Mickael Belin worked as a colourist for Gaspar Noé.
How did you know and met Gaspar Noé ?
I met Gaspar Noé during my career at Duboi. I worked there as a digital colourist. Gaspar needed a copy, converted with telecine, of his short "Carne", for its broadcasting on Canal+ (french channel).
Can you talk about your work on Carne ?
My job was to calibrate the copy of his short and save it on Digital Betacam. It was followed by Gaspar who wanted us to be as close as the silver copy. The render of contrasts and colour were really important to him. The bloody red of the first sequence with the horse was EXTREMELY important to him.
How was your collaboration with Gaspar ?
I was put in touch with him by one of my supervisors who was a friend of Gaspar. Gaspar was unknown to me then and I remember I found him "weird". Once I understood his way of being, I was alongside of an extremely determinated and kind person.
Can you tell us precisely the kind of work you do when you calibrate ?
As I said earlier, the requested work was precise. His copy was colour-graded by his cinematographer and this one had a precise color saturation. Reds were VERY important to him. The smooth contrast shouldn't be rougher in digital than in silver. His recommendation was to get as close as possible of his silver copy and to not change the clour-grading.
Did you also work on the grading of Sodomites ?
I indeed worked on the grading of Sodomites in the same company than Carne, "Duboi".
Do you have any explanation on the censored shot of Sodomites (apparently, a baby have been blurred as if Noé went too far in his representation of a unclear universe) ?
Having worked on the other shorts of the collection (Exercice of Steel, Good Boys use Condoms, Le Ramoneur des Lilas and Jacques Audiard's film), I think that Gaspar's was the most HARD and Canal probably asked to censor the few shots they thought were TOO MUCH.
Were they censored during the grading ?
I don't think so. Indeed, I saw the whole rushes so the censorship happened after the editing and at the end of the post-production.
Are you still in touch with Gaspar ?
No, I only bumped into him at the release of Irréversible. But I'd love to see him again.
Did you work on other movies ?
Yes, I've worked on plenty of films, Duboi being one of the greatest VFX french company, I had fun working on many major movies.
How do you see Gaspar Noé's movies ?
I admire his work. He is a diehard. He doesn't hesitate to go until the end. He doesn't fear to shock. His sense of cinematography is very strong. Irreversible is in my opinion a directing and editing masterpiece. The tension he puts in his movies is unusual. Few filmmakers have his bravery and his determination. I wouldn't advise his movies to anyone because they may shock. But I love to talk about it with people who like him. He's part of shocking french directors.
You also are the webmaster of The Shield's french website. Can you talk about your passion about this excellent TV series ?
I discovered this series while it was beginning in the US. Its crackdown stule. Its handheld 16mm camera astounded me. Its actors are extremely good with stories really well structured. And movies actors didn't make a mistake : Glenn Close and Forrest Whitaker plays importants roles. I see a lot of series and this one is especially successful.
A huge thanks to @ Mickael Belin for his availability.
The Shield's website is down.