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Expedat full version3/18/2023 ![]() ![]() The company also wanted to set the colour for its VFX shots, ie make necessary colour changes that worked best for VFX. VFX Production wanted to use its own ExpeDat server for shot submissions instead of using Aspera Faspex or Shares. He gathered information from the production, editorial and VFX departments, then worked with our DI team to establish the best workflow methods to meet production’s expectations for a successful DI. Technicolor: The workflow supervisor’s role was to support the DI Team. VFX shots with their CDL support files were then sent to 3D for stereo conversion and stereo reviews, as well as to Technicolor for the final DI.ĭefinition: How did you prepare for the digital intermediate? The Daylight system also allowed the colour grade to be revised on-the-fly and passed on to VFX Vendors. This allowed each VFX shot to be reviewed with the colour grade set by VFX supervisors. Each VFX Vendor submitted their shots following the same support-file-per-shot workflow. VFX shot reviews were conducted on a Technicolor-supplied FilmLight Daylight System. Original camera files were stored on our Pulse system for instant access during post-production, whether this was a pull requested for VFX work, 3D Stereo-Conversion work or a trailer DI grading session. When a pull was requested via Pulse, the CDL values were exported per shot as support files (ccc, cc, cdl) for automated delivery to VFX or 3D Stereo Vendors. These colour values were then transferred into our Pulse system where it was stored as metadata per clip. In the near-set, our Dailies Colourist graded the dailies using Peter’s CDLs as a starting point. We received a daily Colour Decisions List (CDL) made on-set. The dailies colour grade was completed on FilmLight’s Daylight system by our Dailies Colourist. We worked closely with the DIT on-set, Peter Welch, to provide him with all the colour science and transforms for his on-location system. Technicolor: The colour pipeline was built by our DI colourist, based on an ACEScct colour space. We were able to bring to our clients a service where acquiring, processing and backing up Alexa 65 data feels much like a normal Alexa SXT workflow, with the added bonus that we were effectively QC-ing their actual OCN.ĭefinition: Can you explain more about the workflow and colour pipeline. We ended up building a system for Fantastic Beasts 2 that was capable of processing original Alexa 65 Raw files at full debayer. This enabled us to bring together FilmLight’s hardware and software ability in processing original Alexa 65 files with the versatility and standardisation we have achieved over the years using our proprietary Technicolor Dailies Manager Systems. Our engineers in London and Los Angeles worked with us and FilmLight to build a completely new system, integrating our dailies software with their Daylight system. We didn’t want to create something that we were going to use only once we wanted to create something long lasting that could be integrated with our pipeline and processes going forward. We knew early on that we needed to build something completely new. We always try to do this by working with the original camera files.įor Fantastic Beasts: The Crimes of Grindelwald, we did just that by building a system that can process Alexa 65 material with the same turnaround times and level of quality our clients are accustomed to. Our aim is to provide the same speed, level of service and quality in every scenario. ![]() We instead work to provide solutions and normalise our processes to accommodate to their needs. Or if there was some way of working with the original camera files as we do with all other cameras.Īs we are vendor agnostic, we don’t influence the camera or formats that productions use. ![]() Technicolor: When we first heard that we were working with the Alexa 65, we needed to determine whether the system would use the industry adopted A65 workflow, which involved creating a proxy file with the Codex Vault and do the dailies out of them. Questions: Julian Mitchell / Pictures: Warner Brosĭefinition: What was the Technicolor dailies process? How were colour decisions made and what about the data flow with the ARRI Alexa 65 camera? ![]() For the new Fantastic Beasts movie, Technicolor managed a huge and complex pipeline from dailies to deliverables. ![]()
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