DaVinci Resolve Studio Used by Trish Cahill at Soundfirm to Grade the Dremaker

DaVinci Resolve Studio Used by Trish Cahill at Soundfirm to Grade The Dressmaker' Fremont, CA - October 8, 2015 - Blackmagic Design today announced that the Australian film The Dressmaker was graded using DaVinci Resolve Studio by Trish Cahill at Melbourne and Sydney, Australia based post production facility Soundfirm.

Based on the book by Rosalie Ham, The Dressmaker takes place in the 1950s and follows Myrtle Tilly' Dunnage (Kate Winslet) as she returns to her hometown to take care of her ill mother, Molly (Judy Davis), from whom she was sent away at the age of ten because of false accusations of murder. Tilly, an expert dressmaker, transforms the locals with her couture creations and in the process, exacts revenge on the people who wrongly accused her of murder all those years ago. The film is produced by Sue Maslin, directed by Jocelyn Moorhouse and also stars Liam Hemsworth, Hugo Weaving and Sarah Snook.

I made the decision to take The Dressmaker' to Soundfirm as it is a one stop shop for state of the art sound and picture post production and enabled us to work with a world class team of professionals who cared deeply about the story, said Sue. I couldnt be happier with the creative results that Resolve delivered in the hands of Don McAlpine and Trish Cahill.

According to Trish, the look of the film needed to be true to the dry Australian landscape it is set in, but it also needed to remain rich and beautiful. Don McAlpine is a master cinematographer, so as you can imagine, the film came to me with wonderful meat and bones already, said Trish. After the initial balance was in place, we looked for little things to enhance each frame, such as a chop at the top of frame here or an extra bit of sunshine on a patch of grass there.

She continued: We had the opportunity to experiment a little with the memory scenes where Kate Winslet's character remembers moments from her childhood, which needed to look different from the present. We ended up with a moody contrast look with a desaturated, ashy palette. Wherever we had skies and silhouette trees we graded, keyed and dropped the mids. There was definitely a focus on the environment.

In one day for night shot, the camera is on a dolly moving towards a silo, and Trish was tasked with retaining this camera movement while creating a starry nighttime sky. It fell into place very quickly using Resolve's super fast tracker for grades and the intuitive keyer to control the various areas of the image, said Trish. The very next shot is the two main characters gazing up at the stars and talking about the night sky, and the shot needed stars. I made numerous one pixel windows with a slight blur and lots of brightness and started moving them all over the place, occasionally making some brighter than others to recreate the randomness of a starry sky. The consensus in the room judging on a still frame was that it worked well.

However, once the scene was played back, the stars needed more integration into the shot as the camera dollied forward. Luckily for us, Resolves shape tracker and stabilizing tools are fantastic, so one run through at real time with default settings on the stabilizer tool and bam! DaVinci Resolve made the stars sit perfectly into the night sky without any loss of our wonderful dolly effect, said Trish.

DaVinci Resolve Studio's tracker also proved beneficial when protecting the performances and subtlety of the actors' eyes and faces while maintaining the rich and tonal look for the film. We have gorgeous actors with beautiful blue eyes, which were sometimes a challenge to maintain in warmly lit scenes. This is where Resolve's tracker also came in handy, said Trish. To be able to go through the film and highlight the moments and selective colors we needed and yet keep the frame rich, vivid and inviting on a whole was a case of having our cake and eating it too.

Trish concluded: The shape tracker allows for a colorist to keep the match and the beauty of a scene and also keep the performance and draw subtle attention to the moments that enhance the film. Without this intelligent and fast tool, you would have to keep a very strict priorities list of what could be achieved in the timeframe, because these things can take time. Now I find myself leaping into the tough stuff without hesitation and without having to do mental calculations as to whether this will blow out the schedule.

DaVinci Resolve Studio was also used for the online edit of the film at Soundfirm, which has a number of Resolve Studio suites in both its Melbourne and Sydney facilities. And according to Jonathan Burton, digital imaging supervisor at Soundfirm, The flexibility of the system really allowed for it to form the backbone of the DI post workflow, especially given that the production wanted to retain the 4K RAW files all the way to the final mastering of the film.

He explained: Resolve was used as the primary conform tool at Soundfirm Melbourne where the offline edit of the film was also done. There is a big advantage in being able to conform the film as the edit progresses, allowing the production to go between the online and offline versions of the cut and ultimately reflect any minor edit tweaks until the final picture lock off. Resolve was next used to handle all of the VFX I/O, creating deliveries to go to the VFX team along with temp grades, reviews and returns of VFX finals to go back into the online.

The final conformed Resolve projects were then sent up to our grading theatre at Fox Studios in Sydney, and DaVinci Resolve's Consolidate Clips tool was used to move all the media and manage the transition between facilities, added Jonathan. Overall the integration of DaVinci Resolve between Soundfirms multiple facilities allowed us to manage the complexities of the workflow in the

LINK:	https://www.blackmagicdesign.com/press/release/20151008-01...
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