EMPOWERING YOUR CREATIVITY Unflinching Resolve
Over recent years, Gorilla TV has invested in the latest high-end television finishing, QC and delivery services. Leading this investment is Gorilla TV’s Director of Technology and Operations, Rhodri James (left). James is well known as an early adopter and technology innovator.
What was the thinking behind the two new Resolve suites? About Gorilla TV
Gorilla TV was established in 1999 as a small boutique facility and has grown organically through decades of early technology adoption, commitment to creative talent and the ability to react quickly to an ever-changing market.
Gorilla is the leading post production facility in Wales, with headquarters in Cardiff Bay spanning 5 floors and a second 30 seat City Centre facility also offering production office space. Gorilla recently expanded out of Wales setting up a new Hybrid facility in Bristol’s Finzel’s Reach, with both on-premises and remote services all connected back to our 24/7 Cardiff HQ. Although large, with over 150 Avid suites, nine dub suites and ten grade/online suites, Gorilla still retains its boutique roots and customer service values. While creative post production is our background, we are also innovative technical and workflow experts, with satellite uplink/ down-link facilities, Broadcast lines, studios and live TX. Gorilla offers a wide range of specific HETV scripted services including DIT / Media management and dailies, an internal and external VFX pipeline, Location editorial setups including studio specific accredited remote solutions, Dolby Vision HDR colour grading and finishing and IMF QC and delivery.
Gorilla delivers hundreds of hours of multi genre programming including high profile scripted HETV, Specialist Factual, Children’s and Daytime to all International clients including BBC Worldwide, Netflix, HBO and all UK Broadcasters. Recent productions the team has worked on include Bad Wolf Productions’ A Discovery of Witches for Sky and His Dark Materials for the BBC and HBO, BBC Studios’ Doctor Who and Urban Myth’s Extinction for Sky/NBCU.
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“We’ve been looking closely at our 4K HDR drama workflow. For one particular production, we concluded that the most efficient approach would be to build two mirrored Blackmagic DaVinci Resolve suites. We have a Resolve grading station and a Resolve finishing online station working in parallel and where any one of the operators can change roles at any time as they’re both running the same application.
“We’ve got a really good colourist who can do a bit of online and clean-up work and a really good online editor who can turn his hand to grading and with the suites running in parallel, we can adapt our scheduling and take into account other contributors not delivering to timetable.
“We’re working from the native ARRI XT assets in Pro Res 4444 and ARRIRAW and relinking from Avid DNx36 in Resolve on the workstation, rather than running DPX, so we’re not losing anything with a transcode.
“We set up a Resolve project server, so the suites have the advanced workflows that Resolve allows you to do. In most post environments, you would typically do the grade on one application which you would then render and that would be sent for compositing and online processing. The ability to do both grade and online on Resolve means that we’re not rendering and passing across. Everything’s done in real time and the workflow is a lot more efficient.
“You need the horsepower for the creative output in front of the client to get the looks they want. But what we’re heading off is delivering the multiple deliverables to multiple broadcasters; one wants the HD version, another the UHD in 709 and again in Dolby Vision and maybe HDR10. When you start mastering to multiple specifications, it becomes highly complicated if you’ve got multiple vendors involved in the workflow because you’re rendering a hell of a lot of data. For a UHD EXR one hour, it’s 3TB per hour and if you’ve got ten versions of that show, you’ve got 30TB and then when you’ve got ten shows… that can get out of hand very quickly.
“What makes this workflow even more attractive is the ease with which we can export the archive deliverables. When you deliver to the streamers, that clean up, that matting out of the camera operator needs to happen on the base rushes layer before the grade, before everything to be able to deliver the ungraded archival master. We had been doing it retrospectively and now by
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