BRING­ING IT ALL TO­GETHER

du­l­ull ex­plains how he com­pleted The Be­yond’s grad­ing, edit­ing and fi­nal de­liv­ery in dolby Vi­sion hdr

3D Artist - - OUT OF THIS WORLD -

01

the im­por­tance of grad­ing i find it very dif­fi­cult to edit a film to­gether with the flat colours that come di­rectly from cam­eras in LOG or Rec709. in­stead, i used Davinci Re­solve to de­fine the mood and aes­thet­ics i’m af­ter in each shot through a first pass grade. i also used Re­solve to sta­bilise some of our shaky doc­u­men­tary footage and even add ba­sic ef­fects like red alarms blar­ing.

03

craft­ing the edit

Next came the edit­ing process, which i also did in Re­solve. i don’t like dip­ping in and out of var­i­ous ap­pli­ca­tions to edit, so there was no off­line or on­line edit – there was just one process. i also didn’t do any transcod­ing. i just im­ported the footage straight into Bins, added my grade and did some me­dia man­age­ment, then edited di­rectly with the ma­te­rial.

02

adding a sound­track

An­other el­e­ment i pre­fer to have ac­cess to be­fore i start an edit is the au­dio, as i cut to mu­sic. Very early on in the process, i en­gaged with Aleah Mor­ri­son and Matthew Wilcock from Zelig to create mu­sic for me to work with based on vi­su­als i pro­vided and dis­cus­sions we would have about the mood and tone of key scenes. i also like to cut with sound de­sign too, so i have li­braries i use for temp sound de­sign to re­ally help the edit­ing, es­pe­cially when a film is VFX heavy.

04

de­liv­er­ing in dolby hdr

HDR, or high dy­namic range, has been a buzz­word in the film in­dus­try for a while, so it was ex­cit­ing to get the chance to de­liver The Be­yond in Dolby Vi­sion HDR too. for this as well as the fi­nal grade, we had help from Grav­ity colourist Max hor­ton. thanks to co­pro­ducer Paula Crickard for grab­bing the op­por­tu­nity af­ter see­ing the likes of Net­flix and Ap­ple de­mand­ing for HDR con­tent. it re­ally did make a mas­sive dif­fer­ence when it came to the fi­nal film, es­pe­cially when it came to the space se­quences, and i’m look­ing for­ward to us­ing it on fu­ture projects!

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