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following day to begin refining the initial grade. Having initially given the video a brighter and more colourful look we decided to tone down those down, giving it a darker, more gritty feel. “Plan B was in Morocco while I was grading with the rest of the production team, so I sent him some video clips and high resolution stills. We then had a call to discuss any changes he’d like to make. It was cool to see how involved he was in both the production and post-production process. I found it refreshing to see him as an artist involved in the grading side too,” said Moran. In addition to meeting the demands of his clients, Moran also faced the challenging task of completing the grade in time for Plan B’s Mercury Prize Album of the Year nomination. Moran explains: “We had a really tight deadline for this video, as the producers wanted to release it the same day as the Mercury Prize committee announced their nominations. Resolve was key in making this happen, because it allowed us to work in real-time with audio from the very first pass to the final playback before we delivered. “The audio rendering feature in version 9 of Resolve was a great help to me when sending approval copies to Plan B as I could render a H.264 file with audio out of Resolve directly and faster than real time, allowing us to get back to work minutes later.” Grading Fire with Resolve “Nearly all of the fire featured in the video shoot was filmed on camera,” recalls Moran. “Using a flammable gel on his clothes and hands, it was necessary to do a little clean up work by removing the gel from view. I exported the shots that needed cleaning and when the compositing team was finished, I grabbed their renders and dropped them into the timeline. Another great feature of Resolve is the fact that it soft links the clips, so if the client makes any revisions I can get the compositing team to render over their previous version, scrub my timeline and the VFX shots will update in real time. which involved making the fire look as dramatic and punchy as possible. I then used a layer node and key to apply this grade to the fire. This meant I could grade everything else in the shot and the fire wouldn’t be affected. It helped me work more quickly as I didn’t need to worry about blowing out the fire or losing any of the dramatic effects. “Grading fire or any special effects can be quite tricky, but with all of the new features in Resolve it was pretty painless. Due to the flexibility of the software, it was possible for me to make any editorial changes and extend a shot moments before we rendered the final version. The production team was pleased with the results and the speed that we could deliver. At the end of the day it’s their opinion that matters,” concludes Moran. “The first thing I did on any shots involving fire was to do a ‘fire grade,’ TV-BAY MAGAZINE | 59 TV-BA073JAN13.indd 59 11/01/2013 14:17