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JURASSIC PARK GRADE STORY
hen we find ourselves at a noisy Soho eatery with Goldcrest Post senior colourist, Adam Glasman,
it’s hard not to feel incredibly lucky to have carved out 30 minutes of his time outside the suite. After all, it’s been quite a remarkable few months not just for Adam’s already impressive CV, but for Goldcrest Post as a whole. In March, Three Billboards Outside Ebbing Missouri , which Adam created the final grade for, won two Oscars and was nominated for five more. In May, the launch of a brand new Goldcrest TV drama wing – featuring state-of-the-art 4K and HDR Resolve grading suites – marked a departure from the facility’s film-centric legacy towards a new future filled with more breadth. And not just for taking advantage of television’s increasing budgets either, as Goldcrest’s aspirations look to be far higher: to become a true one stop shop for everything from production and financing to post, no matter the project. The team’s latest show at the time of writing, Jurassic World: Fallen Kingdom , couldn’t be better proof. Adam was the supervising digital colourist throughout the making of the film, but Goldcrest’s involvement spanned across everything from DI to sound mixing, and even providing all cutting rooms and production office space. Over two cups of well-deserved coffee, we find out more about how the latest instalment in the greatest dinosaur franchise of all time was created, and what this means for the future of one of London’s most exciting moving picture studios.
A NATURAL AMBIENCE Having previously worked closely together on several films including A Monster Calls , The Impossible and The Orphanage , Spanish director J.A. Bayona and his DOP of choice, Oscar Faura were already very close before beginning work on Jurassic World . “They’d never collaborated with Goldcrest before, though,” begins Adam. “Initially, what attracted them to us was the ability to have full picture post under one roof, including sound. Oscar Faura ended up coming over to the UK a few months before DI began, and we spent a week together at Goldcrest. He had some really strong ideas about colour from the outset. The Jurassic films are some of the highest grossing and most
culturally celebrated landmark films of all time, so we had a lot to live up to!” To depict the story, which showcases Owen Grady (actor Chris Pratt)’s campaign to rescue the remaining dinosaurs from extinction when the island’s dormant volcano begins roaring to life, Oscar Faura, Adam and the rest of the colour team needed to achieve a lush, vibrant look, whilst still retaining natural contrast levels. “By the end of the week, we had completed a rough grade of the film with lots of gaps for temporary effects, just to set looks for all the key scenes,” Glasman reveals. “We then screened this to the director, editor and VFX team to ensure all were comfortable with the direction of the grade before we continued.”
IMAGES Getting up close and personal with some not-so- cuddly creatures on set.
ADAM AND THE REST OF THE COLOUR TEAM NEEDED TO ACHIEVE A LUSH, VIBRANT LOOK
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AUGUST 2018 DEFINITION
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