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ABOVE Although the show was mostly a Red camera one, up to ten other formats were used
that the Netflix involvement took that picture quality requirement even higher. “Their expectation of quality of image is another step up,” says George. Franz Ketterer continues, “The big change we were planning was that we had to adopt a DI workflow. We’ve posted a number of natural history feature films for theatrical so we’re used to that workflow but I’m not sure we’d used it before on a TV series. It was necessary for many reasons but mainly because of the Netflix delivery requirements. That combined with the quality that they expected, you’re almost posting a series of short feature films. The result was the team managed to make sure every shot worked as hard as it could.” In the traditional TV route, you conform the show after it has been edited, send it to the grade and then to further online edit work for any enhancement that’s needed, then package it and send it out. But here, the grade happened at the very end of the process. “So, all the other work that had to be done for final post was fed through to the grading suite, which became the finishing suite. That’s the normal approach in films, but adopting a DI workflow wasn’t something we’d done for a TV series before. “For us it needed a certain change in mindset amongst the producers as in
Adopting a DI workflow wasn’t something we’d done for a TV series before
24 DEF I N I T ION | MAY 20 1 9
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