theibcdaily executive summary 39 Advances in D-Cinema
scientist Colour Kate Morrison-Lyons
“If you don't understand the whole impact of a digital file-based workflow on the image it can effect the production financially”
Co-Founder, Fluent Image Region: UK
data camera acquisition Kate Morrison-Lyons co-founded Fluent Image in 2011 with Sohonet colleague Jon Ferguy. They designed end-to-end digital workflows for Prometheus and Jack the Giant Slayer and are currently in production on major 3D features Godzilla and X-Men: Days of Future Past.
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“Our forte is handling large amounts of image data very quickly and very precisely,” she says. “At the start of every show we talk to anybody associated with colour management. We ensure that decisions made about colour are translated into lab processing for dailies and to all the other vendors involved in the editorial. If those values don’t translate, then the studio
Interview by Adrian Pennington ith a
background in on-set look management and servicing
will not be looking at the same images the director of
photography (DOP) is looking at on set and it won’t match with your stereo or vfx pipeline.” While digital brings the advantages of on set review, complex composting and digital delivery, the variables are many and complex. Screen calibration, differing frame rates, multiple resolutions, camera colour rendition, use of stock footage, all add up in rendering the filmaking workflow ever more complex and fraught with potential pitfalls. “I come from the trenches with experience of the consequences of bad colour management,” she adds. “The key to being able to reproduce what you see on set is the ability to translate the cinematographer’s vision into the DI. If it’s not done correctly it can spoil a beautifully shot movie. If you don't understand the whole
impact of a digital file-based workflow on the image it can effect the production financially.” Although Fluent Image works on vfx-intensive 3D films which suit digital capture, Morrison- Lyons said she feels affinity with cinematographers fighting for the future of film. “I believe very strongly in using the right tool for job whether 35mm or digital,” she argues. “I had a desire from a very early age to be a
cinematographer and I’ve been lucky enough to see great DOPs like Alwin Küchler (Sunshine), Darius Khondji (Wimbledon) and Roger Pratt (Troy) at work.
“Many cinematographers are
greiving for the loss of film. It’s a horrible life lesson for them that the industry has changed so much. They used to be able to take cameras apart and rebuild them. Now cameras are computers. But the cinematographer’s craft hasn’t changed, even if the technology has. The concept of debayering an image by turning black and white into colour is the same. “I see it as my role to reassure them about the technology as much as possible.”
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