POST STORY | FANTAST I C BEASTS 2
Fantastic Beasts 2 was shot in 2D and then converted to 3D in post- production Definition: Can you explain how your VFX pull software, Pulse, was integrated with the almost 8000 shots that was needed to be delivered to VFX vendors? Technicolor: Technicolor Pulse was to act as a central portal to store and deliver all shots and frames to each of the film’s eight VFX vendors. Over the course of a year, which encompassed a shoot lasting five months and a seven-month post-production period, more than 800TB of rushes stored and more than two million frames were pulled and delivered to VFX vendors through Pulse. All VFX pulls were ACES Linear EXR plates. We set up Pulse so that VFX editor, Steve Peng, and his team had the option to either pull the plate at the working format, or natively in 6.5K. A few shots were needed from the first Fantastic Beasts film, so we were able to take this media and match it to the working format for the second film. We also gave direct access to Pulse to the 3D team at Vision 3. They were able to log in and pull their own drama plates. All deliveries were automated and delivered directly where they needed to go. This saved hours of upload and download time for multiple teams across the project. FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD IS ON GENERAL RELEASE.
each shot in the feature from 2D to 3D. After completing the Digital Intermediate for 2D, the process began anew during which the 3D content was conformed and colour graded. In addition to colour, the 3D work required doing a stereo depth pass when the 3D viewing experience is adjusted. Once creatively approved, we repeated the process of deliverables for the 2D elements created. For IMAX 3D, there were also special Visual Effects created that appear to pop out of the screen by coming out of the 2.39 original aspect ratio. Finally, Technicolor worked to master for home video in both 2D and 3D, which again required a colour grading pass. Our colourist worked to carry the creative intent of the projected image on to the small screen, and also performed a pan and scan for the image to fit the full frame on a standard 16:9 television. For home video mastering, we once again worked at Dolby’s facilities on its Pulsar monitor to grade in HDR, which is moving to become the new standard for home entertainment. The Pulsar monitor allows for grading at up to 10,000 nits, although limited to 4000 for distribution. The HDR grading allows for a greater dynamic range with more information in highlights and more vibrant blacks. We then rendered the files and sent them to Los Angeles for downstream distribution.
FANTASTIC BEASTS 2: AERIAL TEAM AND FLOWN GEAR
• Director: David Yates • 2nd unit director: Stephen Woolfenden • Visual effects supervisor: Christian Manz • DOP: Philippe Rousselot • Aerial DOP: Jeremy Braben • Aerial technician: Oliver Ward • Helicopter pilot: Giles Dumper • Locations: Seven Sisters, London, Interlaken, Switzerland. • Shots: Establishing and location element plates, photogrammetry • Camera and lens: ARRI Alexa 65, lens 55-110 • Platform: Airbus AS355 Twin Squirrel with Shotover K1
30 DEF I N I T ION | DECEMBER 20 1 8
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