{"id":27266,"date":"2013-08-05T09:24:37","date_gmt":"2013-08-05T13:24:37","guid":{"rendered":"http:\/\/www.premiumbeat.com\/blog\/?p=27266"},"modified":"2016-09-13T15:16:23","modified_gmt":"2016-09-13T20:16:23","slug":"color-grading-and-di-on-vfx-heavy-movies","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/color-grading-and-di-on-vfx-heavy-movies\/","title":{"rendered":"Color Grading and DI on Visual Effects Heavy Movies"},"content":{"rendered":"<h2 id=\"check-out-these-industry-case-studies-of-colorists-using-baselight-for-grading-and-digital-intermediate-on-blockbuster-films\">Check out these industry case studies of colorists using Baselight for grading and digital intermediate on blockbuster films.<\/h2>\n<p><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/5guMumPFBag\" frameborder=\"0\" width=\"490\" height=\"275\"><\/iframe><\/p>\n<p>This summer&#8217;s most spectacular blockbuster spectacle\u00a0<em>Pacific Rim<\/em>, from director\u00a0Guillermo del Toro, featuring massive robots duking it out with giant monsters from the sea was given its final spit and polish by Maxine Gervais, colorist at Warner Bros. Motion Picture Imaging. Taking on a movie of this size is no easy thing.<\/p>\n<div>Filmlight has a <a title=\"Interview with a colorist - Pacific Rim\" href=\"http:\/\/www.filmlight.ltd.uk\/customers\/case-studies\/film\/pacificrim.php\" target=\"_blank\" data-wpel-link=\"external\">great interview with Maxine<\/a> about her process in <strong>color grading the film<\/strong>, even before post production had begun:<\/div>\n<div>\n<p><em>\u201cI took my laptop Baselight on set,\u201d she recalled. \u201cI made sure I was using all the right\u00a0color\u00a0curves, so I was sure where the DoP was going. I did tests with Guillermo Navarro that he loved \u2013 that\u2019s how I got the gig.<\/em><\/p>\n<\/div>\n<p><em>All the live action on\u00a0Pacific Rim\u00a0was shot on RED cameras at 4K resolution for a 2K finish but, as Maxine described it, \u201cthe look was set in a digital setup and needed to be translated into film with the same bold statement. They were going for a very poppy look where digital spectrum would allow such latitude.\u201d<\/em><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter  wp-image-27290\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2013\/08\/vfxmonicadaniels.jpg\" alt=\"Monica Daniels twitter feed\" width=\"491\" height=\"369\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2013\/08\/vfxmonicadaniels.jpg 1024w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2013\/08\/vfxmonicadaniels.jpg?resize=300,225 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2013\/08\/vfxmonicadaniels.jpg?resize=768,576 768w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2013\/08\/vfxmonicadaniels.jpg?resize=277,208 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2013\/08\/vfxmonicadaniels.jpg?resize=359,269 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2013\/08\/vfxmonicadaniels.jpg?resize=543,407 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2013\/08\/vfxmonicadaniels.jpg?resize=865,649 865w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2013\/08\/vfxmonicadaniels.jpg?resize=994,746 994w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2013\/08\/vfxmonicadaniels.jpg?resize=560,420 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2013\/08\/vfxmonicadaniels.jpg?resize=150,113 150w\" sizes=\"auto, (max-width: 491px) 100vw, 491px\" \/><\/p>\n<p>With the film being shot on RED Cameras, REDucation, Warner Bros Motion Picture Imaging and Filmlight put on a joint event recently in which Maxine got to showcase more of her talents and involvement in the film to a small crowd in LA. Thankfully editor Monica Daniels was there to live tweet some nuggets for the rest of us.<\/p>\n<blockquote class=\"twitter-tweet\"><p>DI Artist: On average, 7-8 layers for color for <a href=\"https:\/\/twitter.com\/search?q=%23pacrim&amp;src=hash\" data-wpel-link=\"external\" target=\"_blank\">#pacrim<\/a> and 15 layers for Book of Eli <a href=\"https:\/\/twitter.com\/search?q=%23reducation&amp;src=hash\" data-wpel-link=\"external\" target=\"_blank\">#reducation<\/a><\/p>\n<p>\u2014 Monica Daniel (@monica_edits) <a href=\"https:\/\/twitter.com\/monica_edits\/statuses\/362784235418947586\" data-wpel-link=\"external\" target=\"_blank\">August 1, 2013<\/a><\/p><\/blockquote>\n<blockquote class=\"twitter-tweet\"><p>DI colorists used mathematical calculations to figure out how to color <a href=\"https:\/\/twitter.com\/search?q=%23PacRim&amp;src=hash\" data-wpel-link=\"external\" target=\"_blank\">#PacRim<\/a> for a film out to match the digital out <a href=\"https:\/\/twitter.com\/search?q=%23reducation&amp;src=hash\" data-wpel-link=\"external\" target=\"_blank\">#reducation<\/a><\/p>\n<p>\u2014 Monica Daniel (@monica_edits) <a href=\"https:\/\/twitter.com\/monica_edits\/statuses\/362780600018550784\" data-wpel-link=\"external\" target=\"_blank\">August 1, 2013<\/a><\/p><\/blockquote>\n<blockquote class=\"twitter-tweet\"><p>For 3D, the DI artist had to brighten the color grade, boost saturation and highlights <a href=\"https:\/\/twitter.com\/search?q=%23pacrim&amp;src=hash\" data-wpel-link=\"external\" target=\"_blank\">#pacrim<\/a> <a href=\"https:\/\/twitter.com\/search?q=%23reducation&amp;src=hash\" data-wpel-link=\"external\" target=\"_blank\">#reducation<\/a><\/p>\n<p>\u2014 Monica Daniel (@monica_edits) <a href=\"https:\/\/twitter.com\/monica_edits\/statuses\/362776506453336066\" data-wpel-link=\"external\" target=\"_blank\">August 1, 2013<\/a><\/p><\/blockquote>\n<blockquote class=\"twitter-tweet\"><p>Seeing the aerial fight scene colors being manipulated on the fly. Made the blue pop and then fade. Pretty damn cool. <a href=\"https:\/\/twitter.com\/search?q=%23pacrim&amp;src=hash\" data-wpel-link=\"external\" target=\"_blank\">#pacrim<\/a> <a href=\"https:\/\/twitter.com\/search?q=%23reducation&amp;src=hash\" data-wpel-link=\"external\" target=\"_blank\">#reducation<\/a><\/p>\n<p>\u2014 Monica Daniel (@monica_edits) <a href=\"https:\/\/twitter.com\/monica_edits\/statuses\/362764810343038977\" data-wpel-link=\"external\" target=\"_blank\">August 1, 2013<\/a><\/p><\/blockquote>\n<p><script charset=\"utf-8\" type=\"text\/javascript\" src=\"\/\/platform.twitter.com\/widgets.js\"><\/script>To grade <em>Pacific Rim<\/em>, Maxine was making the most of a <strong>Baselight Eight<\/strong>, with the Blackboard 2 control surface. \u00a0This top of the line control surface is going to set you back about $60,000, but it&#8217;s also the beefiest Baselight you can buy. This provided realtime grading of multiple streams of 4K involving complex grades of multiple layers, matte channels and effects. This also allows for native resolution playback of 4K stereoscopic material, which was handy when the production decided to go 3D.<\/p>\n<p><em>\u201cStereo grading is a standard capability in Baselight, and for\u00a0Pacific Rim\u00a0the tools were used intensively, including a large number of floating windows. \u201cI don\u2019t know how many we had \u2013 about a gazillion,\u201d Maxine said. \u201cWe had a really structured workflow to keep track.\u201d<\/em><\/p>\n<p style=\"text-align: center;\"><a href=\"http:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2013\/08\/vfxblogpost_1_MD.jpg\" data-wpel-link=\"internal\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter  wp-image-27271\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2013\/08\/vfxblogpost_1_MD.jpg\" alt=\"Baselight colour grading\" width=\"491\" height=\"369\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2013\/08\/vfxblogpost_1_MD.jpg 1024w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2013\/08\/vfxblogpost_1_MD.jpg?resize=300,225 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2013\/08\/vfxblogpost_1_MD.jpg?resize=768,576 768w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2013\/08\/vfxblogpost_1_MD.jpg?resize=277,208 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2013\/08\/vfxblogpost_1_MD.jpg?resize=359,269 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2013\/08\/vfxblogpost_1_MD.jpg?resize=543,407 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2013\/08\/vfxblogpost_1_MD.jpg?resize=865,649 865w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2013\/08\/vfxblogpost_1_MD.jpg?resize=994,746 994w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2013\/08\/vfxblogpost_1_MD.jpg?resize=560,420 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2013\/08\/vfxblogpost_1_MD.jpg?resize=150,113 150w\" sizes=\"auto, (max-width: 491px) 100vw, 491px\" \/><\/a><\/p>\n<p>Just to spice things up a bit, here&#8217;s another taster of Pacific Rim with a behind the scenes featurette on creating some of the monster mayhem.<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/mRIfIi6R1Ys\" frameborder=\"0\" width=\"560\" height=\"315\"><\/iframe><\/p>\n<h3 id=\"color-grading-elysium\">Color Grading Elysium<\/h3>\n<p><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/QILNSgou5BY\" frameborder=\"0\" width=\"490\" height=\"275\"><\/iframe><\/p>\n<p>Following on the theme of color grading visual effects loaded summer blockbusters, <a title=\"Studio Daily\" href=\"http:\/\/www.studiodaily.com\/\" data-wpel-link=\"external\" target=\"_blank\">Studio Daily<\/a> has <a title=\"Studio Daily Color Grading\" href=\"http:\/\/www.studiodaily.com\/2013\/07\/how-elysiums-4k-di-integrated-editorial-and-vfx\/\" target=\"_blank\" data-wpel-link=\"external\">a great interview with\u00a0Senior DI Colorist Andrea Chlebak<\/a>, from\u00a0Vancouver post facility Central on her work on the film both in terms of managing the requirements of the numerous VFX houses and finishing the film in Baselight.<\/p>\n<p><em>Before they got the VFX work going, they wanted to know what the look of the film was going to be. We actually did a very early DI look session with the director to lock down a few hero shots \u2014 &#8220;this is what this exterior looks like, this is what earth looks like, and this is Elysium.&#8221; Broad strokes. We created look LUTs to distribute to the VFX companies so they could preview their work confidently.<\/em><\/p>\n<p><em>[In the grade, \u00a0director Neill Blomkamp]\u00a0called it an honest approach \u2014 <strong>he wanted the image to feel honest and not like it had been graded<\/strong>. That&#8217;s a tricky order. It&#8217;s easy to make everything look cool and contrasty. You can hide behind that. And day by day, we&#8217;d get more shots with new VFX elements involved. It was interesting to see how the project evolved through grading. It almost got to where his original vision was, but I think he was able to approach a few different environments in ways he wouldn&#8217;t have imagined originally because of the time we had to play around with them.<\/em><\/p>\n<p>It&#8217;s interesting to note that both colorists (on <em>Pacific Rim<\/em> and <em>Elysium<\/em>) had quite a bit of time to experiment with the grade and fine tune it when they could review it with fresh eyes. It must be a huge challenge to maintain that fresh perspective when the delivery deadlines require a crushed post schedule. The whole interview with <a title=\"Studio Daily - Colour Grading Elysium\" href=\"http:\/\/www.studiodaily.com\/2013\/07\/how-elysiums-4k-di-integrated-editorial-and-vfx\/\" target=\"_blank\" data-wpel-link=\"external\">Studio Daily is well worth a read<\/a>.<\/p>\n<h3 id=\"visual-effects-color-grading-tutorial\">Visual Effects Color Grading Tutorial<\/h3>\n<p><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/laOd3_XWPBA\" frameborder=\"0\" width=\"490\" height=\"275\"><\/iframe><\/p>\n<p>In this ten minute tutorial Ryan Connolly from <a title=\"Film Riot\" href=\"http:\/\/revision3.com\/filmriot\" target=\"_blank\" data-wpel-link=\"external\">Film Riot<\/a> demonstrates how he <strong>color graded<\/strong> his footage in a way that would work with the composite he knew he was going to create. Although really this is just an example of sky replacement (and being performed in After Effects) it does include adding sharpening masks, subtle relighting and a few creative ideas. Interestingly Ryan also mentions the need to be able to <strong>step away from your grade<\/strong> to be able to accurately review you work.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In this post, we explore the color grading work done on Hollywood blockbusters Elysium and Pacific Rim!<\/p>\n","protected":false},"author":15,"featured_media":27458,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[5339,715,79,39],"tags":[5375,586,597,1623,1877,1900,1899,473],"class_list":["post-class-post-27266","post-class-post","post-class-type-post","post-class-status-publish","post-class-format-standard","post-class-has-post-thumbnail","post-class-hentry","post-class-category-color-grading","post-class-category-industry","post-class-category-inspiration","post-class-category-video-editing","post-class-tag-after-effects","post-class-tag-baselight","post-class-tag-color-grading-2","post-class-tag-colour-grading","post-class-tag-digital-intermediate","post-class-tag-elysium","post-class-tag-pacific-rim","post-class-tag-visual-effects"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v18.5 (Yoast SEO v27.7) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Color Grading and DI on Visual Effects Heavy Movies - The Beat: A Blog by PremiumBeat<\/title>\n<meta name=\"description\" content=\"In this post, we explore the color grading work done on Hollywood blockbusters Elysium and Pacific Rim!\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.premiumbeat.com\/blog\/color-grading-and-di-on-vfx-heavy-movies\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Color Grading and DI on Visual Effects Heavy Movies\" \/>\n<meta property=\"og:description\" content=\"In this post, we explore the color grading work done on Hollywood blockbusters Elysium and Pacific Rim!\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.premiumbeat.com\/blog\/color-grading-and-di-on-vfx-heavy-movies\/\" \/>\n<meta property=\"og:site_name\" content=\"The Beat: A Blog by PremiumBeat\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/premiumbeat\" \/>\n<meta property=\"article:published_time\" content=\"2013-08-05T13:24:37+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2016-09-13T20:16:23+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2013\/08\/color-grading.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"150\" \/>\n\t<meta property=\"og:image:height\" content=\"150\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Jonny Elwyn\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@Premiumbeat\" \/>\n<meta name=\"twitter:site\" content=\"@Premiumbeat\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jonny Elwyn\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.premiumbeat.com\\\/blog\\\/color-grading-and-di-on-vfx-heavy-movies\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.premiumbeat.com\\\/blog\\\/color-grading-and-di-on-vfx-heavy-movies\\\/\"},\"author\":{\"name\":\"Jonny Elwyn\",\"@id\":\"https:\\\/\\\/www.premiumbeat.com\\\/blog\\\/#\\\/schema\\\/person\\\/54929117cee3eb3ca0c603737aed575e\"},\"headline\":\"Color Grading and DI on Visual Effects Heavy Movies\",\"datePublished\":\"2013-08-05T13:24:37+00:00\",\"dateModified\":\"2016-09-13T20:16:23+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.premiumbeat.com\\\/blog\\\/color-grading-and-di-on-vfx-heavy-movies\\\/\"},\"wordCount\":918,\"commentCount\":3,\"image\":{\"@id\":\"https:\\\/\\\/www.premiumbeat.com\\\/blog\\\/color-grading-and-di-on-vfx-heavy-movies\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.premiumbeat.com\\\/blog\\\/wp-content\\\/uploads\\\/2013\\\/08\\\/color-grading.jpg\",\"keywords\":[\"After Effects\",\"baselight\",\"color grading\",\"colour grading\",\"digital intermediate\",\"elysium\",\"pacific rim\",\"visual effects\"],\"articleSection\":[\"Color Grading\",\"Industry\",\"Inspiration\",\"Video Editing\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/www.premiumbeat.com\\\/blog\\\/color-grading-and-di-on-vfx-heavy-movies\\\/#respond\"]}],\"copyrightYear\":\"2013\",\"copyrightHolder\":{\"@id\":\"https:\\\/\\\/www.premiumbeat.com\\\/blog\\\/#organization\"}},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.premiumbeat.com\\\/blog\\\/color-grading-and-di-on-vfx-heavy-movies\\\/\",\"url\":\"https:\\\/\\\/www.premiumbeat.com\\\/blog\\\/color-grading-and-di-on-vfx-heavy-movies\\\/\",\"name\":\"Color Grading and DI on Visual Effects Heavy Movies - 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