Sony Pixel Power calrec Sony

Clink, the new series of Channel 5, recorded in Blackmagic RAW format

05/06/2019

Clink, the new series of Channel 5, recorded in Blackmagic RAW format La serie de diez cap tulos ha sido rodada con Ursa Mini Pro G1 por LA Productions, en colaboraci n con Kew Media Group, y est basada en hechos reales.

Clink, la nueva serie dram tica de la televisi n brit nica creada por Colin McKeown and producida por Donna Molloy, ha confiado en una din mica de trabajo basada en Blackmagic RAW para el rodaje y la posproducci n del material.

La serie fue producida por LA Productions, en colaboraci n con Kew Media Group, y est basada en hechos reales. Adem s, la direcci n de los diez episodios estuvo a cargo de Gary Williams y el director de fotograf a Tim Pollard. La producci n eligi el modelo Ursa Mini Pro G1 para grabar en 4K mediante el c dec Blackmagic RAW con compresi n 12:1.

Me dediqu a la direcci n de fotograf a por muchos a os, y siempre me asombr la est tica y los tonos de piel que se logran con la c mara URSA Mini Pro. Siento que responde muy bien a la luz. Ya la hab a usado en distintos documentales y me permiti comunicar el dramatismo a la perfecci n , comenta Williams.

Adem s, su latitud fue sumamente til al grabar en Blackmagic RAW. Esto nos brind mucha m s libertad en un rodaje en el cual hab a bastantes espacios restringidos, donde la iluminaci n era complicada. Al principio, saber que la imagen comprender a todos esos detalles implic que pudimos conservar esa informaci n en las zonas oscuras o claras para aprovecharla en la posproducci n , a ade.

Una vez finalizada la fotograf a principal, el proyecto pas a la etapa de posproducci n, a cargo de Patrick Hall (LA Production). Tanto la edici n como el etalonaje se llevaron a cabo en DaVinci Resolve Studio, mientras que los efectos visuales se crearon en Fusion Studio.

El rodaje se finaliz en solo 10 meses, y la decisi n de capturar las im genes en formato Blackmagic RAW permiti que LA Productions completara la producci n en tiempo r cord. Hubo un total de cuatro editores y dos asistentes de edici n colaborando en cada uno de los cuatro bloques.

La grabaci n de cada episodio duraba unos siete d as, durante los cuales el equipo de posproducci n procesaba el material cuando recib a los copiones al final de cada jornada. Entonces, el editor destinaba dos d as y medio junto al director para obtener el montaje final, que luego enviaban directamente al equipo encargado del etalonaje y los toques finales.

Al principio, probamos una din mica de trabajo basada en archivos proxy en vez de Blackmagic RAW, pero observamos que este ltimo formato es mucho m s directo en t rminos de velocidad. Adem s, gracias a esto, qued libre un asistente de edici n, quien destin m s tiempo a procesar metadatos con palabras clave y a exportar los contenidos. Estas tareas nos permitieron encontrar el material con mucha m s facilidad, especialmente para los avances promocionales , concluye Gary Williams.
LINK: https://www.panoramaaudiovisual.com/en/2019/05/29/clink-channel-5-grab...
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