POST
POST BUILDS FOR DRAMA
Indeed, Cinelab Film & Digital has responded to
the HETV boom in just this fashion. “For HETV projects, Cinelab will set up near-set
remote dailies labs,” says Joshua Callis-Smith, CTO of Cinelab. Recent high-end TV production credits include
DIT and digital Dailies for Landscapers; digital Dailies for Slow Horses; 35mm Processing, scan and film Dailies for Conversations With Friends; 35mm processing and scan for season three of Succession; DIT and digital Dailies for season two of The Witcher; digital Dailies for season three of Atlanta; and digital imaging services for A Discovery of Witches. The facility has enhanced its colour grading with
Top left: Succession Sky
Top right: His Dark Materials BBC/HBO
the installation of a high-definition, HDR colour grading suite, equipped with a 4K HDR Sony OLED X300 monitor and Blackmagic’s DaVinci Resolve advanced panel. Further investment in Resolve has benefitted advanced colour management and ACES integration in Cinelab’s colour pipelines. “The ability to be able to transition from set to
post using the same toolset is undoubtedly a huge advantage to both our on-set technicians, colourists, and the DPs they are collaborating with,” says Callis- Smith The facility also installed a large-format, high-
resolution OXScan 12K film scanner, able to handle 65mm 5-perf and 15-perf IMAX, 70mm print and 35mm film. “With the OXScan, Cinelab can now offer 8K finishing and remastering of 35mm film.”
VISUAL PATTERNS VFX facilities have also made huge investments in technology and talent. “There’s been continual growth in the episodic
space for the past five years in particular,” says Peter Jopling, executive VFX Supervisor at MPC Episodic. “The pandemic slowed this down momentarily but now we’re seeing that change, in addition to this growth which has created an even bigger spike in demand.”
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MPC Episodic London has 450 seats in total, up
from 10 when it launched in January 2020, with, adds Jopling, “all the hardware and software to go with it”. Ghost VFX, another component of Streamland
Media, has also seen continued expansion in VFX teams across Manchester and London. Framestore has massively expanded in tune with
the production boom, integrating Method Studios’ film and episodic teams in Vancouver, Montreal and Melbourne. At the end of 2021, the London team of colour specialist Company 3 relocated and opened a state-of-the-art space in Framestore’s London HQ. “We’re seeing a huge amount of cross-pollination
between film and episodic,” says James Whitlam, executive vice president, Film & Episodic at Framestore. “Right now, we have artists who’ve worked across Oscar-winning and nominated films like Gravity, Blade Runner 2049, Christopher Robin and No Time to Die all bringing their skills and experience to bear on huge episodic projects. We’re also seeing growing savviness when it comes to specialisms like pre-vis and [in-camera] VFX, with showrunners and directors alike either conversant with the processes or eager to get to grips with them.” “Episodic productions are becoming bigger and
more complex, with larger budgets, longer seasons and more advanced VFX, so these projects tend to be treated more and more like films,” agrees Manne Öhrström, global head of software VFX at Framestore. “Technology-wise, it means more automation, streamlining and making more use of the highly automated workflows that Framestore has developed for its filmmaking process over the past decade. This also leads to more utilisation of the cloud to meet increasing production demands. “What this has meant for us on a practical level
is that we’ve brought our technology processes and workflow together to the point where an episodic production like, say, His Dark Materials has more in common with a Marvel film than with a TV production from a couple of years ago.”
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