Grading Temple - Making the future look vintage


Simon Allard TV-Bay Magazine
Read ezine online

Cineground's Simon Allard and Nguyen Anh Nguyen reveal how they used Kowa lenses and an atypical approach to grading to give their new sci-fi cyberpunk thriller, "Temple" a unique vintage look.

Created by the same indie team behind "The Akira Project," a viral trailer which garnered more than three million views online in 2014, "Temple" is a new science fiction cyberpunk thriller that many have been very excited about.

Set in 2085, the short tells the story of Oz, a health services employee who must find a way to survive in a world where a genetic virus and cybernetic beings are threatening to extinguish the human population.

Postproduction supervisor Simon Allard and director Nguyen Anh Nguyen used DaVinci Resolve Studio to grade the final film. Together, they made a surprising choice for the final result: deciding to steer clear of the typical cold blue and green tones found in many science fiction feature films, they opted for a warmer color palette, tungsten lighting and a vintage aesthetic instead.

Humanizing Science Fiction

"I watched every sci-fi movie out there to prepare myself for this project, and realized that most were very clean, shot with these gorgeous super expensive master anamorphics, which leaves everything looking sterile," begins director Nguyen Anh Nguyen. "I wanted the film we made to buck that trend. I wanted to give science fiction a makeover, combining an old vintage look with a high tech world."

One of the main influences for the look came from the decision to shoot "Temple" with anamorphic vintage Kowa lenses from the early seventies, the same Nguyen had used to great effect on the trailer for "Akira".

"Anh actually pushed the shoot back twice just to make sure that he could have those lenses," remembers Allard. "They're really highly appreciated because they're not that sharp, and enhance the vintage, seventies look we'd wanted to give the film."

"We set many scenes to have more red and orange tones, enhanced by the use of tungsten lighting," explains Nguyen. "This made all of the characters feel more real, more human, even though the world they inhabited is populated by cyborgs. Then, when the main character, Oz, gets into a fight we subtly shift the hue further towards blue because his state of mind has changed. He's become less human through his acts of violence."

Color Correction

To create the final grade for "Temple," Allard began by referencing the look up tables (LUTs) made on set by DIT Sean Sweeney, whose film credits included "X-Men: Days of Future Past".

"Those LUTs were the base for the grade," tells Allard. "From there I'd say 80 percent of the final grade was done using only primary corrections. I also almost never touched the mid tones, instead I aimed to keep them at around +/- 10 percent, the level where the BMDFILM initial lookup table put them, and only pulled the highlights to bring everything up to the top end of the curve. This gave us some nice pockets of texture on the skins and the environments. Finally, we added some 4K film grain in at the very end of the process to make the film more uniform, which really helped complete some of the shots where we used noise reduction and lost some image texture as a result."

"I've been working with Resolve for years now because it's one of the best intuitive solutions that you can get out there today," Allard concludes. "The fact that aside from our work on noise reduction, we could have easily graded the entirety of 'Temple' on the free version of Resolve is amazing to me. It's the democratization of technology."


Tags: iss111 | blackmagic | grading | temple | resolve | davinci | Simon Allard
Contributing Author Simon Allard

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

    Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

  • Blackmagic Davinci Resolve 15 at NAB 2018

    Blackmagic Davinci Resolve 15 at NAB 2018

  • Blackmagic Design Resolve 14, ATEM, URSA Mini PRo and more from IBC 2017

    Blackmagic Design Resolve 14, ATEM, URSA Mini PRo and more from IBC 2017

  • Blackmagic Design: Products at NAB 2013

    Blackmagic Design: Products at NAB 2013

  • Blackmagic Design at NAB 2012

    Blackmagic Design at NAB 2012

  • Blackmagic at IBC2011

    Blackmagic at IBC2011

  • Blackmagic introduces Blackmagic RAW (BRAW) at IBC 2018

    Blackmagic introduces Blackmagic RAW (BRAW) at IBC 2018

  • Blackmagic Design Pocket Cinema Camera BMPCC 4K at IBC 2018

    Blackmagic Design Pocket Cinema Camera BMPCC 4K at IBC 2018

  • Blackmagic Pocket Cinema Camera 4K at NAB 2018

    Blackmagic Pocket Cinema Camera 4K at NAB 2018

  • Blackmagic ATEM Television Studio Pro 4K at NAB 2018

    Blackmagic ATEM Television Studio Pro 4K at NAB 2018

  • Blackmagic Design Ultimatte at IBC 2017

    Blackmagic Design Ultimatte at IBC 2017

  • ATEM TV Studio Pro HD from Blackmagic Design at NAB 2017

    ATEM TV Studio Pro HD from Blackmagic Design at NAB 2017

  • Blackmagic Design at IBC 2016

    Blackmagic Design at IBC 2016

  • Blackmagic MultiView at IBC 2014

    Blackmagic MultiView at IBC 2014

  • Blackmagic and Fusion at IBC 2014

    Blackmagic and Fusion at IBC 2014

  • Blackmagic URSA at NAB 2014

    Blackmagic URSA at NAB 2014

  • Blackmagic Studio Camera at NAB 2014

    Blackmagic Studio Camera at NAB 2014

  • Cintel Film Scanner: Blackmagic Design at NAB 2014

    Cintel Film Scanner: Blackmagic Design at NAB 2014

  • Blackmagic Design on BroadcastShow LIVE at IBC 2013

    Blackmagic Design on BroadcastShow LIVE at IBC 2013

  • Blackmagic Design with the new ATEM Production Suite at IBC 2013

    Blackmagic Design with the new ATEM Production Suite at IBC 2013

  • Holdan and DaVinci at BVE North 2011

    Holdan and DaVinci at BVE North 2011

  • Den Lennie considers what kit and cameras to buy for 2015

    Den Lennie considers what kit and cameras to buy for 2015

  • BeSteady on the Production Gear stand at BVE 2014

    BeSteady on the Production Gear stand at BVE 2014

  • Hireacamera at BVE 2014

    Hireacamera at BVE 2014

  • The tv-bay Tour in Manchester June 2014

    The tv-bay Tour in Manchester June 2014

  • The tv-bay Tour in London June 2014

    The tv-bay Tour in London June 2014

  • Behind the scenes of the Teradek booth on BroadcastShow LIVE at IBC 2013

    Behind the scenes of the Teradek booth on BroadcastShow LIVE at IBC 2013

  • Holdan on BroadcastShow Tour May 2013

    Holdan on BroadcastShow Tour May 2013

  • Official TOUR Video 2013

    Official TOUR Video 2013

  • Autodesk at NAB 2013

    Autodesk at NAB 2013

  • Featured Clip: Geoff Boyle comments on NAB 2012

    Featured Clip: Geoff Boyle comments on NAB 2012

  • AMD at IBC2011

    AMD at IBC2011

  • Digital Vision on BroadcastShow LIVE at IBC 2013

    Digital Vision on BroadcastShow LIVE at IBC 2013

  • Cintel at IBC2011

    Cintel at IBC2011

  • Image Systems at IBC2011

    Image Systems at IBC2011

  • Polecam Antelope Pico at IBC 2014

    Polecam Antelope Pico at IBC 2014

  • Polecam Toshiba Minicams at BVE 2014

    Polecam Toshiba Minicams at BVE 2014

  • Polecam Slow Motion Minicams at BVE 2014

    Polecam Slow Motion Minicams at BVE 2014

  • Polecams range of accessories and minicams at IBC 2013

    Polecams range of accessories and minicams at IBC 2013

  • Polecam: Z10 zoom lens at NAB 2013

    Polecam: Z10 zoom lens at NAB 2013

  • Polecam at BVE 2013

    Polecam at BVE 2013


Related Shows
  • BroadcastShow Christmas Special

    BroadcastShow Christmas Special


Articles
AI in Media and Entertainment
David Candler Artificial Intelligence (AI) is a term appearing everywhere these days. What is happening in media and entertainment (M&E) that makes the industry ripe for AI? In other words, why does the M&E industry need AI?
Tags: iss134 | AI | wazee | David Candler
Contributing Author David Candler Click to read or download PDF
An Obituary to Timecode
Bruce Devlin - new A stoic and persistent character that stubbornly refused to change with the times, Timecode has finally passed on, but no-one has noticed. A long-lasting industry veteran, Timecode was brought into this world at an uncertain date in the late 1960s due to the needs of analogue tape workflows and the demand for synchronisation between audio and video devices. A joint activity between SMPTE and the EBU led to the work on Time and Control codes starting its journey to standardisation in the early 1970s.
Tags: iss134 | timecode | smpte | ebu | edit | Bruce Devlin - new
Contributing Author Bruce Devlin - new Click to read
Giving Welsh sport a global audience
Adam Amor From the Ospreys Rugby Union team, to the Football Association of Wales, as well as national cycling, swimming and boxing coverage, Port Talbot based Buffoon Film and Media has been heavily involved in putting Welsh sports on the world stage.
Tags: iss134 | blackmagic | atem | buffoon | micro studio camera | Adam Amor
Contributing Author Adam Amor Click to read or download PDF
Keeping it remotely real
Reuben Such Everyone wants to do more with less. Always have, although it could be argued that doing more with more is something to aspire to, not many have that luxury. So let’s stick with the prevailing winds of doing more with less, and not just doing more, but doing it remotely, particularly in terms of production. Remote production, in particular, is getting a lot of attention in the field these days, but not so much in terms of the remote operation of fixed studios.
Tags: iss134 | remote control | IPE | IDS | Reuben Such
Contributing Author Reuben Such Click to read or download PDF
Accelerated Workflows with eGPU
Mike Griggs From the UK’s National Trust to magazine publishers to manufacturers, digital content creator Mike Griggs has a wide and varied portfolio of clients for whom he creates 3D art, motion graphics and multimedia exhibits. A typical day might involve sampling birdsong near Virginia Woolf’s country estate or creating 3D animations for VR. To keep on top of these demands, Griggs wanted to take the full power of the GPU computing revolution on the road.
Tags: iss134 | sonnet | egpu | amd | post production | editing | Mike Griggs
Contributing Author Mike Griggs Click to read or download PDF