Broadcast TECH


In contrast, the music promos


were pushed heavily in different directions. For example, hip-hop videos were made to look glossy and rich, and a Slipknot-style heavy rock video was given a high-contrast, bleached-out, gritty look. A multi- layered timeline was conformed directly into Baselight from the edit,


‘Smoke was used for effects such as exploding rabbits and electrocuted nipples’


and the graded media with handles was passed back to the Nitris DS for finishing work, which preserved the effects and layers from the original cut.


DNxHD 36 media was generated


on set for the offline edit, but once the cut was locked, Splice linked back to the original ProRes Log-C Quicktime files from the Alexa. This allowed for more freedom in the grade, as a lot of shadow and high- light detail was preserved when working from the native camera rushes. An LUT was applied in Base- light to convert the images into standard HD colour space as a start- ing point for the grade.


With each episode containing up


to three music videos of different styles, online editor and colourist Adam Dolniak used an Avid DS for a wide range of VFX. Composit- ing in Smoke was used for effects, which included exploding rabbits and electrocuted nipples. Tinder and Boris plug-ins were used to add finishing touches.


www.broadcastnow.co.uk/techfacils May/June 2012 | Broadcast TECH | 45


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