DEFINITION December 2018

We ended up building a system for Fantastic Beasts 2 that was capable of processing original Alexa 65 Raw files at full debayer

Definition: Can you explain more about the workflow and colour Technicolor: The colour pipeline was built by our DI colourist, based on

VFX shot reviews were conducted on a Technicolor-supplied FilmLight Daylight System. Each VFX Vendor submitted their shots following the same support-file-per- shot workflow. This allowed each VFX shot to be reviewed with the colour grade set by VFX supervisors. The Daylight system also allowed the colour grade to be revised on-the-fly and passed on to VFX Vendors. VFX shots with their CDL support files were then sent to 3D for stereo conversion and stereo reviews, as well as to Technicolor for the final DI. Definition: How did you prepare for the digital intermediate? Technicolor: The workflow supervisor’s role was to support the DI Team. He gathered information from the production, editorial and VFX departments, then worked with our DI team to establish the best workflow methods to meet production’s expectations for a successful DI. We had two immediate challenges. VFX Production wanted to use its own ExpeDat server for shot submissions instead of using Aspera Faspex or Shares.

pipeline. Was it an ACES show?

an ACEScct colour space. We worked closely with the DIT on-set, Peter Welch, to provide him with all the colour science and transforms for his on-location system. The dailies colour grade was completed on FilmLight’s Daylight system by our Dailies Colourist. We received a daily Colour Decisions List (CDL) made on-set. In the near-set, our Dailies Colourist graded the dailies using Peter’s CDLs as a starting point. These colour values were then transferred into our Pulse system where it was stored as metadata per clip. When a pull was requested via Pulse, the CDL values were exported per shot as support files (ccc, cc, cdl) for automated delivery to VFX or 3D Stereo Vendors. Original camera files were stored on our Pulse system for instant access during post-production, whether this was a pull requested for VFX work, 3D Stereo-Conversion work or a trailer DI grading session.

IMAGES VFX shot reviews were conducted on a Technicolor-supplied FilmLight Daylight system.

DECEMBER 20 1 8 | DEF I N I T ION 27

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