BRINGING IT ALL TOGETHER
dulull explains how he completed The Beyond’s grading, editing and final delivery in dolby Vision hdr
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.
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.
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.
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!