The DaVinci Resolve Studio was used to manage the colour pipeline including onset dailies and final grade of Kenneth Branagh’s adaptation of Agatha Christie’s classic Murder on the Orient Express.This was announced by Blackmagic Design.
The feature’s DI workflow was developed and delivered by Goldcrest Post London, in association with film and digital dailies specialist Digital Orchard. Director of Photography (DP) Haris Zambarloukos worked with Goldcrest to develop the film’s color science and LUTs, which were then integrated into the dailies pipeline.
“We eventually arrived at a LUT that would give us an authentic filmic look,” informed Goldcrest Post senior colorist Rob Pizzey. “A warm white point really helped to retain the original color and contrast from the scanned film negative. The film has an incredibly rich feeling and so the colors stand out, as such we didn’t want to pull back on anything.”
Color values, lab roll, camera roll, keycode and timecode were all vital to the conform, and it was essential that we communicated that information throughout the entire pipeline. We added key metadata into Resolve easily, and included any additional notes required. This all went to editorial and onto the second scan conform.”
Image analysis for quality control was also an integral part of the workflow. “Some issues with film manifest themselves in specific color channels. Being able to isolate these channels in Resolve to view in black and white helped with diagnosis.”
Sam concludes: “Blackmagic provides an excellent suite of tools for dailies grades on Hollywood productions, workflows for editorial and post, and more advanced color work. DaVinci Resolve has been the backbone of our workflow since 2011, and its extended feature set has been proved to get the most out of both digital and film-based workflows.”
Goldcrest Post’s Sinéad Cronin completed the online edit in DaVinci Resolve and the final DI, including Dolby Vision theatrical grade, was delivered by Rob Pizzey.