DaVinci Resolve Studio provided the finish of the Spanish movie Ozzy

DaVinci Resolve Studio provided the finish of the Spanish movie Ozzy The postproduction barcelonesa Moonlight Cinema turned to Blackmagic solution for digital intermediation and finish this project, recently released, directed by Alberto Rodr guez.

Alberto Rodr guez, director of the television Pocoyo series and nominated for an Oscar for the short film The incredible Story of My Great Mother Olive, has just released a new animation project. Ozzy, a production Spanish owned by Dreamcatchers, Atresmedia and Disney with a budget of some ten million of euros, has led to the great screen them adventures of a group of pets.

For the intermediation digital and finished, them producers of the film resorted to the services of the postproductora Barcelona Moonlight Cinema.

For this project, with Alejandro Matus and the colourful Ignasi Gonz lez to the front, is produced more than 40 versions different of the film along two weeks, using them three rooms of grading with which has Moonlight to contemplate all them aspects, from the relationship dimensional and the frequency of image until them different languages. In all this the DaVinci Resolve Studio solution project of Blackmagic played a role determining factor.

Matus recognizes that "this was the first time that accept the challenge of performing a film animated, by which should deliver a product end of high quality." Resolve was of great help in all aspects of the project, particularly thanks to new editing tools. "We use it not only to conform and mastering the content, but that also allowed us to make changes to the material published during the match without resorting to another application".

The team of Moonlight Cinema applied a table of conversion to them files DPX 2 K delivered by the company Canadian Tangent Animation with the objective of get the appearance basic of the film. "Many people think in an animated film is not necessary to adjust the color, but is in fact quite the opposite," said Gonzalez. "To difference of them feature films with actors real, in an animation CT there are several people that create a universe completely new using different equipment computer." "Achieving that this content is homogeneous and give you greater depth through various effects is a task overwhelming", adds.

Color grading

In order to ensure uniformity between the planes of a sequence, Matus and Gonz lez decided to separate the key elements in every scene, through their respective alpha channels, through the use of masks. This gave them greater control to modify specific areas of the image, such as the character, during the final grading process. The next step consisted in giving to Ozzy a particular appearance.

Ignasi Gonz lez underlines that "since it is a film for children, we wanted to preserve the bright colors and convey a friendly feeling, even in scenes of greater tension or sadness. The good thing about working as a colourist on a project like this is that I had the opportunity to be more creative when it comes to etalons material. For example, in some scenes at night, could adjust the blue of the sky of a form that not would be possible in a sky real. The same thing happened with the sunsets".

Una de las mejores prestaciones de DaVinci Resolve para este proyecto fue el sistema de gesti n crom tica. Me sorprendi la capacidad del programa para convertir los espacios de color seg n nuestras necesidades. Fue realmente r pido y no tuvimos ning n tipo de problemas. Tambi n hubo que reemplazar varias tomas durante el proceso de etalonaje. No obstante, Resolve me permiti guardar una imagen con la apariencia deseada, que adem s inclu a toda la informaci n correspondiente al seguimiento y los fotogramas clave. Sin lugar a dudas, esto facilit much simo dicha tarea , concluye.

LINK:	http://www.panoramaaudiovisual.com/en/2016/11/14/DaVinci-resolve-studi...
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