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Color correcting Captain Phillips
B lackmagic Design have
announced that Company 3
London has used DaVinci Resolve for
color grading the film adaptation of
Captain Phillips, the latest blockbuster
film starring Tom Hanks.
Four years after it made headlines, the
harrowing true life story of American
shipping captain Richard Phillips,
swept up in a hostage ordeal after
Somali pirates hijacked his ship, has
been made into a new film by director
Paul Greengrass, with Barry Akroyd as
the cinematographer. Color correction
for Captain Phillips was carried out
by Company 3s senior colorist Rob
Pizzey. Barry has a naturalistic style of
shooting and Captain Phillips was
no different, explains Pizzey. Everything
is filmed handheld, so you never have
any locked off shots during the film.
Because of that, Barry is right on top
of the action. You almost feel like a
part of the film.
The challenge during this grade was
the films climax, which takes place at
night. Most of the climax was actually
shot during the day so we had a big
job on our hands matching those
shots, which were filmed on a variety
of formats, with the night footage.
A month before the DI, Akroyd and
Pizzey had the chance to work on the
conformed day for night scenes,
allowing them to start setting the look.
We worked through the scenes
making sure that we could
achieve what we wanted and
flagged areas where we could do
with some help from VFX. DaVinci
Resolves unlimited nodes and auto
tracking capabilities were a big help
during Captain Philips big day for
night scenes, said Pizzey.
The camera is always moving because
youre at sea, so the tracking tool
was perfect because I could hand
draw shapes and then grade within
that area. Resolves auto tracking
would then map to the movement of
the camera so we could get on with
matching all of the footage. It was
also really useful for lining up faces
and pulling out eyes. With the auto
tracking, you get the shape on there
and it maps it all the way through. It
really did save me a lot of time.
Having got it in a pretty good place,
we then rendered out the DPX files
with the grade baked on and sent
them over to the visual effects house,
who were able to help us in areas
where Id darkened bits down to help
sell the look.
When those shots came back into
the timeline for the main DI they were
90 per cent final. The main DI was
attended by Barry for the first seven
days, during which time the pair set
the look and mood and graded the
climax of the film in full.
New series of super-slim,
high brightness displays
S harp is upgrading its professional display offering with the launch of
three new professional displays; the PN-U553 (55), PN-U473 (47)
and PN-U423 (42). The easy-to-install displays offer businesses the latest
Sharp screen innovations including high brightness, slim design and low
power consumption; all to help them make maximum visual impact on their
customers and increase footfall in an increasingly competitive marketplace.
The screens will be used in a wide range of environments, from shops and
offices to public spaces such as transportation hubs.
www.sharp.eu 28 | TV-BAY MAGAZINE: ISSUE 83 NOVEMBER 2013
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