March 2013
www.tvbeurope.com
Two cameras per rig. As many as 16 rigs on a big battle sequence. Sometimes as much as 12TB a day
as dailies for those who did not have to judge stereo. For department heads and leads files were delivered to iPads for quick checks on set. “There were a lot of iPads out there,” Oatley recalled. “They were all super-secured, of course, but it was a great way to get selected dailies out to lead crew in every department.” “It is only when you get into
the workflow that you realise some of the complications,” says SGO’s technical director Javier Moreno. “The offline created a 24fps EDL. When it came to conforming the online then all the live action and VFX were in 48fps, so you have to be able to support both frame rates on the timeline.”
Nine different formats During the design of the workflow, Park Road decided they wanted to investigate performing the final colour grade in Mistika, too. While Mistika had always had colour correction functionality, the SGO team took this as a driver to develop both more
sophisticated control and a new user interface. “We worked closely with Dave Hollingsworth [supervising colourist on The Hobbit] and his team at Park Road,’ Moreno explains. “An important part of what they said they needed was already on our roadmap, but they pushed us in the right direction. The new colour grading toolset inspired by
The
TVBEurope 45 The Workflow
“When we knew that The Hobbit
was coming along, and Peter was on board, we had a busy NAB”
Hobbit is now part of our standard product.” Deliverables were as much a challenge as any other part of the project. Nine different
Phil Oatley, head of technology, Park Road
Gollum, performed by Andy Serkis in the fantasy adventure The Hobbit: An Unexpected Journey, a production of New Line Cinema and Metro-Goldwyn-Mayer Pictures (MGM), released by Warner Bros. Pictures and MGM
formats were required, covering 2D, 3D, 48fps, 24fps and film,
with 5.1, 7.1 and Dolby Atmos soundtracks, and six different home entertainment formats. All versions were
exported in a single pass from the master Mistika files, with all versions of each reel created in around an hour. I asked the Park Road team
about where the problems and panics lay in the project. “It was pretty boring for war stories,” admits Oatley. “Nothing much
went really wrong, thanks in no small part to SGO. “We were seeking a
relationship with a technology partner, and we found that SGO shares a philosophy with us,” he concludes. “What we demanded, and they delivered, was phenomenal.”
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Photo courtesy of Warner Bros. Pictures
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