THE BURNING GIRLS PRODUCTION.
explains. “So you get a lot more detail and less compression hidden in there. Whereas, the blue channel might have a lot of compression you don’t see until you go to key it and then it breaks down. More recently, I noticed VFX supervisors asking for blue again, as the spill can look more natural and digital cameras are better.” SCREEN TIME McCready explains how the series carried blue and green screens, so it depended on the VFX supervisor to see which was the most appropriate option. “If I’m lighting with blue light, I’ll generally use a green screen,” she says. “For night scenes, for example when we’re doing moonlight and things like that, we had the option of both and went with green if we were outside.” Nevertheless, there wasn’t an enormous amount of keying material required in the series, but there was a lot of VFX comping on top of doubles, stand-ins or performance that’s going to be further enhanced in post-production – as opposed to keying someone into a background that isn’t there.
ADAPT AND THRIVE The series attempts to capture the unsettling English landscape of CJ Tudor’s bestselling book
Raw file because the cameras only shoot Raw really,” she adds. “For other cameras, like Arri and the Sony Venice, if you want to shoot Raw it’s an option, but sometimes you are pushed into not shooting that option because it might be slightly more expensive in terms of storage. Using Red, I know I’m going to get that Raw file “More recently, I noticed VFX supervisors asking for blue again – the spill can look more natural”
In fact, there are some heavy VFX elements to the script, which McCready says relied on excellent execution. “We spoke with a few companies and Automatik VFX won the contract,” she reveals. “I’ve shot a lot of VFX, so I’m quite experienced with different backgrounds and knowing just what’s needed. In general, Automatik was quite interested in working on top of the real footage and real performances, then creating our characters.” Over the last few years, McCready has employed all sorts of cameras. More recently, Red cameras have cropped up regularly for high-end television – this is for multiple reasons. “The fact that I get a
FULL COVERAGE A Red V-Raptor 8K with Tribe7 Blackwing7 lenses made up the shooting kit for certain sections – helped out with a lightweight stabilisation set-up
13. JUNE 2023
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