ÉLITE PRODUCTION
ACES and for HDR. The one consistent has been Deluxe Spain’s deployment of Blackmagic Design’s DaVinci Resolve. “These new technologies,” Alba suggests, “allow us to explore the limits of the colour space, utilising ACES, HDR and DaVinci Resolve to their fullest. Imagine the difference between painting with a set of eight markers versus a set of 36. “While having more colours doesn’t necessarily make one a better artist, it certainly opens up a broader spectrum of possibilities. Similarly, in Élite , the colour palette has expanded with the seasons, offering us richer and more diverse visual storytelling options.” PIONEERS IN HDR Élite was among the first Spanish series to use HDR, a transition that occurred heading into Season 2. Alba, having previously graded Criminal in HDR for Netflix, was confident in this shift. Organising a preview of the HDR footage, Alba recalls: “The HDR images in Élite displayed enhanced dynamic range and brightness, adding nuance to the characters and their actions. We were so impressed that we began post- production in this format.” For Alba, HDR heralded a new narrative style, demanding a shift in mindset for
cinematographers and digital imaging technicians (DITs) to take advantage of HDR’s expanded capabilities. “The shift to HDR isn’t just about changing the tools we use on-set; it’s more about transforming the mindset of the DOPs and the DITs. They need to understand that HDR imposes certain boundaries. With HDR’s capabilities, what was previously hidden or subdued in the background can now be vividly displayed – much like revealing the details behind a window.” BEST-KEPT SECRET Blackmagic Design’s DaVinci Resolve software has long been an integral part of the DI grading process at Deluxe’s labs, and pivotal in keeping pace with Élite’s post-production requirements. Using DaVinci Resolve Studio, Élite ’s colourists can now correct shots without resorting to VFX. “Its cloning tools mean we can relocate or even delete objects, ensuring a clean frame. Historically, work of that nature would have been carried out by VFX,” explains Alba. Alba also highlights the use of AI-enabled selection tools like Magic Mask and the Depth Map for selective interventions in the grade. He describes the dual process of colour-grading
sequences, like at Club Del Lago, which featured a virtual production screen. “We shot the background plates, which were then projected at the same time as the sequence was shot with the actors. This required a dual-phase technical colour-grading process. First, we graded these plates, then integrated them with the live footage, followed by another round of colour grading. “For sets like Club Del Lago and the Isadora House nightclub, the focus was on subtly blurring the backgrounds to distinguish the characters more clearly, ensuring their texture wasn’t overly pronounced. We used techniques like Magic Mask, Lens Reflections and Fast Noise with adjustments in luminance, brightness and contrast,” adds Alba. Alba regularly utilises Depth Mapping on the Z-axis in DaVinci Resolve. This lets him create depth in the lighting and even remove background elements – which was previously exclusive to animation. He further explains the capabilities of DaVinci Resolve’s HDR colour grading tool, which functions like traditional Lift, Gamma and Gain. “This lets the colourist isolate and modify specific features, like the specula of a bulb, without affecting surrounding light. It allows for precise adjustment across the highlights, shadows or midtones.”
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