Color Grading: Canal+'s <I>Paris Etc</I>
Issue: May 1, 2018

Color Grading: Canal+'s Paris Etc

PARIS — Paris Etc is a new TV series from Canal+. A dramedy about five women in Paris, the 12 episodes were conceived by Zabou Breitman and written by Maïwenn and Anne Berest.

Providing the high quality creative impact that audiences expect while also meeting the tough timescales of broadcast television was a challenge that director of photography Antoine Roch, DIT Nejib Boubaker (pictured) and Le Labo colourist Fabien Napoli all embraced.

“On this project, the post production was completed over a short period of time, with just a few months between the end of the shooting and the broadcast of the TV series,” explains Boubaker. “So the director of photography, Antoine Roch, decided to start the grading process on-set.

“He got in touch with me, mentioning that the final grade would be done at Le Labo in Paris, using the Baselight grading system.”

To keep the color process consistent and gain time, Boubaker pressed for the use of Prelight during the shoot. Prelight is an on-set visualization and color grading tool from FilmLight that offers not just the same color science as Baselight, but uses the same Baselight Linked Grade (BLG) file format.

The process is non-destructive. While passing through Prelight, Daylight (FilmLight’s dailies system) and then onto Baselight, the raw camera footage remains intact, with the grade built up in rich BLG metadata that can be handed on to the next system. As well as allowing the grade to be built collaboratively, it captures all the subtlety of the colorist’s art, including adjustments to fine details through windows and layers.

“We could be completely confident that the on-set monitoring would be identical to the grading room projection,” Boubaker explains. “The colorist would be in the same working color space as us, and all the grading values we established could be modified or removed by the colorist, including shapes and keys. I could deal with any requests from the DoP on-set, knowing that this work would be usable by the colorist later on.”

“We wanted to bring cinema quality to a television show, where the shooting rhythm is frantic,” explains DP, Antoine Roch. “The drama has wandering as its theme: the five women who are the central characters are wandering in the city, their paths crossing without them necessarily knowing it. I wanted to create an image that gave density and a visual identity.”

But although Paris Etc ( is a contemporary story set in Paris, director Zabou Breitman wanted to get completely away from the tourist clichés of Paris. Roch took a distinctive approach to the look. 

“With the director, I established a mood board with images from many different sources. I wanted to define one direction for the hue, the contrast, the style and the visual appearance that unify all the episodes.

“Apart from the night scenes, I decided to use a strong color filter, and to compensate its effect during the color correction,” Roch explains. “This gives an offset to the reality. You can feel the effect of this color turn, especially in the shadows and highlights.

“To avoid it being too oppressing, we worked with the set and costume designers to remove all the colors that were out of our color board, and so would not work well with our color turn. We worked on using a lot of blue and green.”

Colorist Fabien Napoli was familiar with the work of Roch and director Breitman from his days as a telecine dailies colorist at other Parisian facilities. Now firmly established behind the Baselight panel at boutique house Le Labo, his input was vital to this unusual creative path.

“Camera tests allowed us to experiment with different filters,” Napoli says. “Antoine used many filters and we neutralized their hues in order to keep only the distortions.

“In production, Nejib was doing this neutralization on-set. This saved valuable time because I could re-use this first grading pass.”

Roch used mainly warm filters, like Maui Brown and Glimmer Bronze. The hue shift tool in Prelight and Baselight was then used to correct the saturation or hue of specific colors, without having to define a key or create a shape.

“This is a very fine tool,” Boubaker says. “There were some sequences outside where I would work on the leaves of the trees in just a few clicks on-set, and Fabien could access this in Baselight later on.”

Roch is very positive about the role of the DIT in modern production. “What is important is that the DIT helps me to confirm my wishes,” he says. “I can refine my work on-set. It is a bit like watching film dailies, but now it is immediate, there is no more waiting time.

“By pre-grading the dailies, the DIT has become an indispensable associate to my creativity,” Roch adds. “It makes me feel freer in my decisions — to me it is an unquestionable artistic benefit.”

For the colorist, the close relationship between DoP and DIT gave them a great deal of autonomy. “Antoine is the DoP, he knew precisely what he wanted – he was the boss. Nejib worked to achieve that,” says Napoli. “The benefit of the BLG file, from a creative point of view, is that it can contain all the feedback from the DoP and director on set. For all the episodes, the look was already very close when the finishing sessions started at Le Labo. The starting point was the color grading values from the set, so we could watch an identical image to what they saw.

“All the grading values from Prelight were on a single layer, and I could modify or remove them if needed. I used extra layers for my grading, so I could easily compare my work with what they saw on set.”

Napoli adds that they only had two days to grade each episode. “We needed to make choices on what to focus on,” he explains. “But because the initial image was identical to the one on set and the one in editorial, we had clear and concise conversations. I had more time for retouches and finishing.”

Napoli identified a concern about tight post production timescales. Shots that traditionally needed to go to a VFX artist — like cleaning up complexion in close-ups, or to remove lighting stands or booms that creep into shot — can provide a distraction. Directors and DPs, not unreasonably, now demand a clean image at the start of grading.

“A part of what used to be sent automatically to VFX can now be done directly in Baselight, using new tools like paint and grid warp,” Napoli explains. “We have to be able to define quickly what is feasible in Baselight or what is better done in VFX.

“We are witnessing a gradual decrease in the time available for grading,” he continutes. “The session and the working time of the image have to be optimised differently. The tools evolve and become more productive — and the expectations and requests do the same. It is a natural and daily evolution.”

What is most impressive from this project is the structured yet intimate working relationship between DoP, DIT and colorist. It is clear that each is seen as a creative player and not just a technician.

“It is the same conversation with the DIT as with the colorist,” says Roch. “We speak about image, image again and always image. The final grading becomes a complement of the work already started with the DIT on set, with Prelight providing total transparency between the set and the grading room.

“The result is that we save almost the whole pre-grade process that traditionally happens during the first days of post. And in the grading suite, we start right away on the second pass, refining and changing what worked on an individual shot but not in the continuity of the edit.

“With a show pre-graded on-set,” he concludes, “it is the whole grade that gets finer and more precise.”