POST STORY | FANTAST I C BEASTS 2
VFX Production wanted to use its own ExpeDat server for shot submissions
The company also wanted to set the colour for its VFX shots, ie make necessary colour changes that worked best for VFX. It was clear that we needed a plan to streamline the flow of incoming data and a way to track VFX shots and their CDL (colour) values. We asked VFX vendors to submit shots with their CDL values stored as a ccc file-per-shot and to make all submissions available to us. Together with the magic coding work by DI pipeline specialist, Simon Hargreaves, we built a data automation pipeline that can auto-download any new VFX shots submission package from production’s ExpeDat server. Once the package was received, each shot was verified for name, length, format, presence of ccc file and if it’s a duplicate version. Any issues were automatically reported back to VFX Production via email. As part of the auto-process, the CDL values per shot were logged into the project’s database. These values were then immediately available for injecting into a VFX EDL via our EDL processing scripts and ready for conform. We also set up automation for editorial turnover conform packages, as well as all packages from the 3D Stereo-Conversion vendor. Definition: What deliverables were requested? What was the process? Technicolor: Fantastic Beasts: The Crimes of Grindelwald has been mastered at
Technicolor for many distribution formats for theatrical and home video, in both 2D and 3D, including: • 2D Theatrical (Xenon projection) • 2D IMAX • ScreenX • 2D Dolby Vision Theatrical • 3D Theatrical (4.5 and seven foot lamberts versions) • 3D IMAX (special 1.9 aspect ratio) • 2D Home Video (2.40 and 1.78 pan and scan versions) • 3D Home Video (2.40 and 1.78 pan and scan versions) • HDR (high dynamic range) • Home video graded. Once the content was approved by the creative team, it was rendered and wrapped into a Digital Cinema Package (DCP), which was then released in theatres for moviegoers to see. IMAX uses the same files to create the theatrical DCP and go through a process called Digital Media Remastering (DMR), during which the content is modified for the best viewing experience on large IMAX screens. The mastering process began with the digital intermediate for 2D theatrical, during which time the feature was conformed and colour
Fantastic Beasts 2 also gets a special release for ScreenX, for special viewing in theatres with additional projection of the left and right walls for three total screens. Additional ‘ B-Roll’ content is pulled and delivered to our ScreenX vendor who works to create additional content for an immersive theatrical experience. To complete the 2D theatrical deliverables, we also mastered for
Dolby Vision. Technicolor is able to securely route content and work directly at Dolby’s facilities in Soho Square to do another colour-grading pass on Dolby’s extended dynamic range laser projector. Once that content was approved, we rendered out files at a higher 4k
DID YOU KNOW? The movie generated more than 800TB of rushes.
resolution, which were delivered to Dolby for them to wrap the Dolby Vision DCPs. Fantastic Beasts: The Crimes of Grindelwald was shot in 2D and then converted to 3D in post-production. Technicolor worked closely with the Stereography company, Vision3, which works with multiple vendors to convert
LEFT Director David Yates with actor Jude Law on-set.
28 DEF I N I T ION | DECEMBER 20 1 8
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