53
TROY: FALL OF A CITY FEATURE
Definition: What was the plan for the grade; did you have any concerns? What were the DOP’s aims, and how did you achieve them? Kevin Horsewood: The grade on Troy started about six months prior to filming with chats about ‘looks’ with the first DOP Gustav Danielsson. Gustav also wanted me to generate a LUT which he could use in South Africa and then I could use in the grade. The LUT I generated kept the warm tones and also protected the highlights and it also provided a nice curve to keep the detail in the shadows. With the camera tests we spent a day trying different looks; the grade needed to evoke natural light, sunlight and candlelight as it hopefully was in those times. All the exteriors and interiors had a slight cyan push in the shadow areas, this was to break up the warm tones and give a wider spectrum of colours, which was also helped by the costumes and by set design. By the time we had finished with the camera tests we were fairly confident about how the grade should look. Def: How was the colour pipeline achieved? Are there differences between a TV pipeline and a movie one? KH: Troy ’s colour pipeline was based on an ACES workflow using a custom Technicolor DRT designed to provide plenty of detail in the shadows. The set-up was very similar to that of a Definition: How was the new Pulse service used for Troy ? Simon Dunne: All rushes from the entire Troy shoot were loaded into the Pulse system. The VFX team was then able to create its own turnover packs and submit them directly to Pulse, 24/7, choosing from a list of vendors to deliver VFX pulls to. The Pulse teamworked closely with the Technicolor DI team to nail down the pipeline for the show, with all of the VFX vendors working in an ACES Linear pipeline, ensuring that all images were of the very highest quality, for this 4K BBC/ Netflix delivery.
DI project except working in Rec709 rather than P3. The ACES workflow makes it a straightforward process to create deliverables for different display devices. Def: How did you deal with high- contrast conditions for shooting and dark night scenes lit by fire and candles? And what can you tell us about your minimalist lighting design with a concentration of natural light and light coming in through windows? KH: When they shot Raw I had plenty of scope to pull what I needed from the shot; obviously with the high-contrast conditions a lot of fill was used by the DOP. On my part, for the majority of shots we reworked the light adding vignettes and shapes, changing the composition and colour temperature to keep a continuous flow of mood and light throughout the episodes. In a lot of scenes we tracked faces and eyes to protect the detail, then we could pull them out of the background while keeping the mood of the scene as Gustav had originally envisaged.
WITH THE CAMERA TESTS WE SPENT A DAY TRYING DIFFERENT LOOKS
PULSE
Def: What are its advantages? SD: The first thing that users
love about the Pulse system is its simplicity. Simply upload your EDL or TAB file, choose who you want to deliver to and sit back whilst Pulse manages all of your VFX pulls. With automated emails to alert vendors when a job has been submitted, and another when it’s ready, the system manages all of the day-to-day admin, removing the need for staff to chase different departments for their part of the equivalent manual VFX pull. All this extra time saved, not only in admin but also delivery of VFX pulls globally, allows creatives to do what they do best.
@DEFINITIONMAGAZINE |
@DEFINITIONMAGS |
@DEFINITIONMAGS
APRIL 2018 DEFINITION
Powered by FlippingBook