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GRADE STORY TOMB RAIDER
Colour the Crypt After last month’s description of the shooting of Tomb Raider, this month we follow the dailies route WORDS JULIAN MITCHELL IMAGES WARNER BROS. STUDIOS
CDL Heading back to Cape Town to begin primary photography, Joshua set the initial look using Pomfort Live Grade Pro, and created a CDL for each scene. This was then passed through the on-set DaVinci Resolve system to be applied to the dailies’ colour. “I graded each roll on a shot-by-shot basis, matching any inconsistencies in lenses or exterior light, keeping to George’s exact look,” he explains. Joshua used an iMac as his primary DIT machine, mounted onto a foldable cart, allowing him to move around set. “I monitored all the camera feeds on two 25in monitors, fed by a Smart Videohub
were developed with colourist Greg Fisher, based on test shooting in South Africa. LUTs were created to deliver George’s desired aesthetic on a scene-by-scene basis on set. “Rich, warmer colours were used for the exteriors, set on the tropical island of Yamatai, while interiors such as the tombs, took on a darker, cooler palette. These juxtaposing looks add to the dynamic shift tonally in the film,” says Joshua. The film was shot primarily in 4:3 anamorphic, with a 2.8K ARRI raw negative captured on the ALEXA SXT and ALEXA Mini as well as 2.5K CinemaDNG RAW shot on the Blackmagic Cinema Camera.
ith most filming taking place in Cape Town, then moving across the globe to finish in London, planning
ABOVE The interior shots required a dark, cool colour palette.
was paramount, especially when it came to DIT, dailies and colour pipeline priorities. DOP George Richmond, put his trust in Joshua Callis-Smith, with whom he’d worked on projects including the Kingsman films and Eddie the Eagle . The scale of the film, alongside the contrasting shoot locations, meant the colour pipeline had to be seamless. Prior to principal photography the pair spent time with Company 3 to ensure monitors were calibrated. Two primary looks
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