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PRODUCTION AND POST software was a major factor in our decision to implement Resolve. As a former Avid DS user, doing everything in one box is something that appeals, especially for high-end episodic drama where turnaround is tight.” “We first had to produce a Dolby Vision pass for Netflix, and then an SDR trim for Channel 4, where the series was premiering,” Moss continues. “Channel 4 has ad breaks, whereas Netflix required uninterrupted video. On top of that, we had international deliveries to handle, as well as both graded and ungraded archival masters. Throughout the DI we had to drop in VFX shots as they were supplied. “Typically we’d have run a finishing tool and colour corrector in parallel to handle everything; however, we managed to negate all of that by staying in Resolve for the entire process. “It was a steep learning curve to deliver through the IMF workflow, but we took a lot of advice from Netflix’s colour science team, who also wanted a full ACEs workflow,” says Moss. “DaVinci Resolve is what enabled us to bring it all together. It was quite a complex project including Dolby CMU and Colorfront’s Transkoder for IMF, but it all worked well. “Workflow is crucial for us with lots of the other work

we do. When you’re doing 60 episodes of something, you have to apply common sense and find the most practical solution. More and more of the talent coming through our doors knows Resolve, which only made our decision to implement it that bit easier,” concludes Moss. n

PICTURED ABOVE: Gorilla’s DaVinci set up

TVBEUROPE APRIL 2019 | 47

Profile for Future PLC

TVB Europe 63 April 2019  

Get ready, coz here is come - 5G

TVB Europe 63 April 2019  

Get ready, coz here is come - 5G