Tailgate involved the largest amount of post, yet is the most subtle of the spots. The exteriors were shot over two days, and after the first shoot day it rained overnight, so the two floors (wet & dry) had to cut together in order to make it appear as if it were the same day. In order to achieve this Dirk had to combine multiple graded passes and also color correct in flame, then rotoscope the people, trucks and background off from the asphalt car park surfaces in order to be able to combine all of the grades together. Due to the fluid nature of Joaquin's camera moves, these mattes had to be rotoscoped frame by frame as well as tracked, only then were the actors composited back into the plates. Thus the final master shows in camera and color corrected scenes intercut - seamlessly!

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