DEFINITION August 2018

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JURASSIC PARK GRADE STORY

THROUGHOUT IT ALL, WE WERE CONSTANTLY AMAZED BY WHAT WE WERE BEING SENT THROUGH BY ILM they have to go get some blood from a tyrannosaurus that’s locked in a truck; it’s quite a long scene and that’s mostly animatronics as well.” “I had two assistant colourists working on both these sequences with me, they were adjusting for all the 2D and 3D elements involved, and the CG characters. I then did the frame-by- frame grade using Resolve,” Glasman continues. “Throughout it all, we were constantly amazed by what we were being sent through by ILM. It’s pretty epic to see all these dinosaurs running away from a massive volcano. There’s so much energy to it and it’s all completely photo real.” FALLENWORLDS For several scenes they moved away from the CDL file look though. Filming for the island scenes in the second act, where the volcano is erupting, took place in Hawaii under strong sun. “All the shots were really bright and cheerful when they first came in,” Adam remembers. “However, we needed to create a grade that would reflect the idea that the volcano had erupted, generating a massive ash cloud under which the action took place. It’s a critical sequence in the film, and one of the scenes where we decided to diverge significantly from the CDLs from set.

Jurassic World: Fallen Kingdom has already earned over $1 billion at the world wide box office. DOP Oscar Faura used the large format ARRI Alexa 65 camera with Panavision Primo 70 and Sphero 65 lenses. He also used the ARRI Alexa Mini for where space was limited using the same lenses to match the Alexa 65 camera. Helicopter Film Services provided the aerial services in the UK with drones and helicopters, working alongside VFX supervisor Dan Barrow and second unit director/DOP Patrick Loungway. The drone sequences involved shooting background plates at Cragside Manor and in woodland in Northumberland with an Aerigon heavy lift drone carrying an ARRI Alexa Mini and Angenieux 15-40mm Optimo zoom. The helicopter sequences were shot at Loch Long and Glen Mallen in Scotland on Shotover K1 again with ARRI Alexa 65. The aerial DOP was Jeremy Braben and the helicopter pilot was Ian Evans. The drone pilot was Peter Ayriss.

“Using Resolve, I sampled everything down and used shapes to create the ash cloud in the sky, as well as retain control of the look for assets such as the skies and dinosaurs. The result was an image that looks subdued, despite being filmed in Hawaii during the height of summer.

BELOW Adam used shapes in Resolve to create ash clouds for the volcanic eruption.

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AUGUST 2018 DEFINITION

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