“This was probably eight months after finishing up, but as Adrian had been involved from the start of the production, I had set the looks set up prior and during shooting, and I had had conversations with Adrian about what we did each day.”
Hauser says having senior creatives like colourists on staff and available to the directors and DOPs of a production whenever they require feedback, is something unique about Cutting Edge.
“As a colourist it allows me to be intimately involved with the colour journey from the start to end, not just coming in at the end. For us it’s all part of the service.”
Cutting Edge’s head of features and television Marcus Bolton says it was a privilege for me to work across both series of Top of the Lake.
“China Girl upped the ante on complexity of finish and delivery of a television series. In my career it is unprecedented to deliver more than 50 unique individual masters, to seven broadcasters across five continents for both feature and television deliveries.”
“We treated the whole workflow like a feature film to ensure all the theatrical festivals and screenings were seeing quality to the feature film level. This quality of finish permeated all the way through the production, from shoot to delivery. It really has us and the whole industry performing at a global level.”
Libby Sharpe head of production at See-Saw Films says: “Marcus, Adrian, Jo and the whole team at Cutting Edge were always there for us on Top Of The Lake: China Girl. They went above and beyond with their post-supervision and technical expertise.”
Top of the Lake: China Girl is currently screening on Foxtel’s BBC First.
Originally published for IF Magazine.