Company used DaVinci Resolve in Tomorrowland in HDR settings

Company 3 used DaVinci Resolve in Tomorrowland in HDR settings The colorist Stephen Nakamura used DaVinci Resolve for etalons Tomorrowland and for the creation of a pass for the new system of screening Dolby Vision.

Colorist Stephen Nakamura of Company 3, it used DaVinci Resolve in the grading of Tomorrowlandthe new adventure epic of science fiction produced by Disney. Given that this film is the first premiering on Dolby Vision, Nakamura also employed the editing program of Blackmagic in order to create a pass for this new projection system.

Tomorrowland It was under the direction of Brad Bird, whom Oscar was awarded two awards)Ratatouille and The Incredibles), while filming was conducted by the director of photography Claudio Miranda, also deserving of a statuette from the Academy)The life of Pi). The film follows the adventures of Frank Walker (George Clooney), an inventor prodigy during his childhood, and Casey Newton (Britt Robertson), a bright with a brimming with scientific curiosity teenager, taking together an extremely dangerous with the aim mission to unlock the secrets of a mysterious location at some point in time and known in its collective memory space as Tomorrowland.

Nakamura notes that "the appearance of" Tomorrowland It is slightly brighter and more saturated than real life, but not to an extreme point, since the shadows is not too obscure or details are lost in the lights. I generated several Power Windows in Resolve to mitigate the effects of a very subtle way. "The film is loaded with complex special effects and it is always possible to make some improvements in the matching stage to see them projected on the screen in its context with other outlets".

According to Nakamura, there is a fascinating sequence of special effects in which one of the protagonists is transported to the world of Tomorrowland for the first time. "Its a take on movement that lasts about two minutes and includes a vast number of items created by Industrial Light & Magic (ILM). I was just doing the grading of this scene on ILM while the effects were designed. On that occasion, I used the attenuation of edges and lights on the panel adjustment tools Color Match", along with some functions for the composition of images by chrominance, aiming to increase or decrease the saturation in specific parts of the image", assures.

Dolby Vision

Nakamura also used these tools to carry out the pass Dolby Vision.

"When converting conventional P3 d-cinema format files to PQ, it is possible to achieve clearer areas of images to acquire more than twice the brightness, and that the black color of the shadows is more intense. Brad and Claudio were interested in taking advantage of this high dynamic range in a very subtle way,"said Nakamura. "Many of the settings for Dolby Vision consisted of really create a new interpretation of the material, so that the amplitude of the dynamic range was not an overwhelming appearance on other elements. For example, a bright area in an image, such as a lamp, not blur completely the face of players as it could happen in other cases", adds.

Nakamura concluye afirmando que aunque el pase de Dolby Vision me brind la posibilidad de acentuar el brillo en las zonas claras de las im genes de una manera nunca antes vista en el formato D-cinema tradicional, utilic las funciones de atenuaci n de bordes y ajustes de luces en DaVinci Resolve para conservar el aspecto original de la versi n est ndar de 14 pies Lambert en la variante Dolby Vision de 31.5 pies Lambert .

LINK:	http://www.panoramaaudiovisual.com/en/2015/06/10...
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