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audience that little bit of ‘shiver down the back’ before it all starts,” Ernesto says. “Red Giant products are so powerful. We can make the shots bold or very stylistic – it’s basically a statement that we are making. And when it comes to grading and color correcting, and stylizing those shots, we use a lot of Magic Bullet Looks and Mojo.” According to Ernesto, tools from the Red Giant Color Suite allow him and his colleagues to color correct very effectively and very quickly, applying a grade and style that the Sky audience has come to know throughout the years. “As soon as they see something, an opener for example, before the event even starts they know already this is a Sky opener, they recognize the style and the way the shots are created. Even more specifically, we use Magic Bullet Looks because it’s very powerful, very easy to use and, most importantly, it’s reliable – it does not 6/26/2013 7:23:41 Even with crash. PM TV BAY-HALF-PAGE-LYNX-BRICK3-CHD1813-OL.ai 1 all of the filters and effects we pile on, it renders quickly in full HD. So when the director is shouting, and we’ve got 20 minutes to deliver, we’re confident we will make it happen.” Back at the Sky headquarters in West London, SPS has much more time to cut openers and promos, which means more time to incorporate effects using Red Giant tools. The post-production team uses tools like Trapcode and Magic Bullet Looks extensively, adding subtle yet beautiful effects to Sky’s documentary and entertainment programs. But for Ernesto, Red Giant products are always at hand for SPS’s post-production needs. “These are really good, really strong plugins that we use every day. That’s the bottom line. I rarely see a Sky piece that hasn’t been affected at least partially by some of the plugins sold by Red Giant.”