FUTURE WORKFLOWS
POST
VFX artists for immediate work. LucidLink also enabled the editorial files to be instantly available for access to playback in Avid on demand. Mission’s Head of Colour Kevin Shaw,
CSI graded from the original files working on Blackmagic Resolve mounted on Exacta’s extraordinarily powerful bespoke workstations. Shaw prefers to work with ACES whenever he can. “In my role, I’m trying to oversee a pipeline where everybody’s looking at the same thing whether that’s in post or in visual effects, in LA or in London. And that’s where not just the standardisation of transforms but having an agreed container that everybody can share without having to go in an out every single time is very valuable,” he says. Shaw was able to stream HDR over 5G on Colorfront’s Streambox for remote review on
an iPad in HDR and created IMF masters on Colorfront Transkoder. We ended the day with a well edited, beautifully graded 90-second 4K HDR film and I walked away with all of the assets on a SanDisk Professional HDD Shuttle, which had copied everything across at lightening speed as we broke down the display. I was also very aware of how the details can
make a difference. For example, at one point the demonstration had an eleventh hour bottleneck and it was only by deploying AJA’s T-TAP Pro that we were able to link the server with the grading monitor. One aspect that made the demonstration out
of the ordinary was that the material was viewed in 4K HDR at every station – DIT, lab, editorial and grade. We had the full portfolio of Sony reference monitors on set including 18, 24 and
32-inch displays from the PVM-X range as well as the gold standard BVM-HX310 in the grade. Viewing the material in HDR in this way has considerable advantages from making critical colour judgements on set to how the film might be edited. By 8.00pm we had a short glossy film to show, cut and graded in 4K HDR as an IMF deliverable file. With DoPs increasingly unlikely to attend
the grade, whether for budgetary reasons or scheduling, the ability to see their work in HDR on set has significant creative benefits, as well as for critical reference. Crucially it brings the world of production closer to post and creative decisions or corrections can be made earlier. Working in this way will save both time and later resource. The days of ‘fix it in post’ might soon be over.
PROTECTING THE CREATIVE INTENT
"Cinelab are seeing an increased requirement for remote dailies services which help to reduce cost and improve efficiency on turnaround times. We are currently providing remote dailies services for digital productions shooting in Atlanta and Vancouver where we transcode master data and send it electronically back to the Cinelab operation where we can split, sound sync, grade and QC the rushes, subsequently delivering production review screeners and files to editorial. The uncompressed data is backed up on-set and is managed by a locally employed data wrangler.
“We provide remote live grade sessions with our colourists in London so the director of photography can be confident that the look they established with us in pre- production is being applied throughout the shoot. We know that the production costs and schedules do not often allow the DoP to be available for the finishing stage, so this is a significant advantage, enabling the DoP to follow through on their creative intent. "
Adrian Bull
Chief Executive Officer Cinelab Film & Digital
Scanity HDR - 35mm film scanning for dailies Autumn 2022
televisual.com 79
Adrian Bull at Cinelab
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