DEFINITION November 2018.pdf

SHOOT STORY | OUTLAW K I NG

We tended not to deviate from shooting at a colour temperature of 4800 Kelvin

so much functionality in a portable unit. Remote locations, small power boats and SSSI-protected locations are a few examples of where its small footprint really came into its own, allowing us to be very nimble and move from location to location very easily. When we got the chance to bring and use more kit, we added monitors, live grading functions and so on. “Our daily approach was to take what we thought we’d need for that day from our 18-ton truck, load it into a 4x4, which we’d drive as far as we could before decanting a subset of that kit into Foldit carts that we’d take the rest of the way. This allowed us to get the right kit for the job into some pretty remote places.” MEMORABLE SCENE One of the film’s most significant and dramatic scenes is the battle of Loudoun Hill. “It was a long, wet shoot with lots of stunts and great set pieces – I’m looking forward to seeing how all the work that went into it turns out. The second

“We work out our data requirements on a worst-case scenario. We’d look at how many cameras they had out there – we knew the schedule was ten-hour days so we could have up to four or five hours per camera per day. As long as you factor that then anything less than that was an easy day, or an easier day. We never wanted the lab to have nothing – if the lab was doing nothing then we’d reload. We tried to minimize that downtime as much as possible to mediate the data management better.” THE OUTLAW LOOK “We tended not to deviate from shooting at a colour temperature of 4800 Kelvin. This cooled our exteriors and combined with a slightly desaturated show LUT gave them a gritty feel to complement the (not always) bad weather. Indoors, it provided a balance for mixed source exterior daylight (or daylight fixtures) and interior fires, candles and other warmer sources. In live grading, we’d enhance this further by adding mood through contrast and black levels as well as any colour balancing that was required. “As mentioned above, we adapted the rigs we took out depending on the location for that day. The Odyssey 7Q+ was always central to whatever rig we took as it provides

OUTLAW KING IS CURRENTLY SHOWING ON NETFLIX.

unit shot a lot of wire cam work, which we didn’t get to do on main unit, so I’m interested to see how that all looks, too.”

20 DEF I N I T ION | NOVEMBER 20 1 8

Powered by