RESILIENT NEW DIT STORAGE & PROCESSING THE TELEVISUAL FILM PROJECT “The day’s assets were copied to a G-Speed Shuttle
THE GRADE MORE THAN YOU WOULD USUALLY
EXPECT TO”
“WE’VE PUSHED
and proxies on to the G-Drive Mobile Pro SSD hooked up to the Symply Workspace. At 2,800 Mb/s you can copy across a TB in under seven minutes on the G-Drive. At somewhere approaching 1.30am in the middle of nowhere ahead of uncertain times, this was very welcome.”
In Post: Mark Robinson Director & VFX Supervisor, Jam VFX “This was a really fun project to be involved in! Quick turn-around and just subtle touches to give a more tech/
military edge to the drone footage and title design. The shots were completed in Autodesk Flame using the Logic matchbox shader tools to add a subtle VHS look to the Drone sections plus a little enhancement here and there. We worked in ACES2065 colour space and fed back to Pablo for the master grade. The bulk of the work was timing out the opening section and screen tracking to make the sequence flow and work with the title timing.”
In Post: Pablo Garcia Soriano Head of Colour, Mission With the film being shot in the single day, there was
always going to be an issue with colour continuity and although not quite night for day, it was certainly day for twilight. Having the assets recorded on Sony X-OCN XT in 6K might have required heavy lifting on-set but was invaluable in the grade. It also provided phenomenal latitude helping us create a truly unique HDR look. “It was a very easy process to get started, as Tom
(Mitchell) had looked after the workflow from the very beginning. “We’ve pushed the grade more than you would
usually expect to, with loads of “time of day” effect to give the film overall continuity. Televisual provided many indicative references to help shape the film from which I drew further inspiration. “Due to the very low light of the final sequences, I
especially like the texture given by the 2500ISO and as It was all in 6K this lends a very fine grain to the image that gives that scene a slightly different look. I thought about cleaning them but changed my mind as I found it really pleasing even in HDR when grain can be distracting. “I always work ACES. I used a new gamut mapping
algorithm developed by one of the ACES working group for ACES 2.0 (for out of gamut colours that happen sometimes between AP0 and AP1) and it really works like a dream. Sometimes the beams of the torches were suffering from artefacts and this would fix it without affecting anything else in the image.”
Look out for The Fox Hunt and behind the scenes interviews on
televisual.com
ON-SET
STORAGE Symply The SymplyWORKSPACE is a just-launched fast RAID protected, portable storage unit designed for high- bandwidth, on-set ingest and collaborative editorial, and finishing work with up to eight Mac or Windows clients with Thunderbolt 3 connections. Now available with embedded axle 2020 MAM solution providing powerful media search, proxy workflows and a full suite of production tools for view and review, mark-up and pre-edit selects from an intuitive GUI.
VEGA CINE
PRIME LENSES True Lens Services Vega is a series of light and fast, full frame cine prime lenses commissioned and currently exclusive to Take 2 Films. There is a total of 10 in the set, including 20mm, 24mm, 28mm, 35mm, 50mm, 58mm, 85mm, 105mm, 135mm and 200mm focal lengths, ranging from T1.5 to T2. The Vega lenses, although sharp, have a beautiful smooth look and a stunning bokeh as a result of their 16-blade circular iris and when wide open, can offer a very narrow depth of field.
Summer 2020
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