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THE IDEA WAS TO CREATE A NATURALISTIC, DAYLIGHT FEEL tones to take on a magenta hue. “For this, I used DaVinci Resolve’s secondary color control,” tells Brown. “Quite often on ‘Rovers’ you would have shots where multiple characters were in the same frame, and for these we could again employ the tracker, this time combined with the hue corrector or color wheels to even the flesh look across the picture. Sat vs Lum was also employed throughout, so that the shadow areas were as clean as possible. Finally, subtle vignettes were applied throughout to frame the characters and add some intimacy.” “From when I first trained to use a DaVinci 2k system for drama post production, DaVinci Resolve has been invaluable in allowing me to enhance the creative look and vision from the director and cinematographer,” Brown concludes. “The amazing tools within the latest version of Resolve massively helped with bringing ‘Rovers’ to life.” THE industry event for the north of England REGISTRATION NOW OPEN SEMINARS | WORKSHOPS | EXHIBITS KITPLUS - THE TV-BAY MAGAZINE: ISSUE 116 AUGUST 2016 | 67