OUTLAW K I NG | SHOOT STORY
we would look at the day and decide what package we were taking out. Sometimes this was an Odyssey recorder on a stick. It was very much a modular approach in terms of how we worked.” David Mackenzie liked to keep the cameras rolling, which of course resulted in a great deal of footage. “David wanted this constant flow – keeping the cameras going kept the energy high with the actors and because of that there were quite a lot of rolling re-sets, which perhaps made things more complicated for us with things such as metadata. “We had to be particularly verbose in the comments; our philosophy was that everything we did, like colour values and QC, for example, travelled down to editorial and on to the final DI. The fact that we had that knowledge of, say, five takes on one clip, would travel down to them and hopefully make their job a little bit easier. We were also not allowed to slate, which became a cataloguing nightmare. I think towards the end we did review the slating, there was no script supervisor and we did it without a continuity person, too. It just emphasises how important it is at the lab stage that all the information is maintained and enabled to be communicated very clearly through the metadata, and through the colour pipeline, basically.
Sometimes the editor would even take a copy of the project on his laptop and come and join us because we would be too far from a proper edit facility to make this kind of workflow feasible.” CAMERA SETTINGS “On set we managed the camera set-ups and problem resolution with the firmware we were using, as well as setting exposure through iris control, neutral density filters and camera sensitivity settings. A show LUT was applied to monitor feeds and where locations allowed this image was further finessed through live grading. Barry’s ideas for the look of the dailies were fed through the lab via written and verbal notes to keep consistency with days when live grading was not possible (rather than CDLs). Stills were then fed back to set for his approval.” At the near-set lab, sound was synced with the Raw footage and dailies for editorial and PIX online rushes system were created using the show LUT and Jo Barker’s primary grade. The CDLs from this grade for each shot would then travel down the colour pipeline to editorial via ALE and then on to the final grade/VFX to use as a starting point for their work. “In terms of colour, Barry was great. We would live grade where we could, obviously exposure monitoring, but then every day
ABOVE The generally hot, dry summer meant that some scenes needed additional grit and mud.
NOVEMBER 20 1 8 | DEF I N I T ION 19
Powered by FlippingBook