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“The compositing capacity of Baselight can serve a creative yet intricate look, as well as produce some basic VFX itself,” Gervais said. The creative capabilities of the Baselight platform were also important. “I love Baselight’s composite grading, where you can blend layers in additive, subtractive and other modes,” she explained. “If you have used Photoshop, it is like that, where each layer becomes an element. It gives you a lot of creative strength. “You can key a certain hue on a layer, boost its saturation and diffuse it a bit, then blend this in additive mode with another layer that has a set saturation, then play with the level of blending,” she enthused. “It is fast and non-destructive.” An important element of the story is that it takes place in January: when the aircraft landed on the river the air temperature was around -7˚C. “It was freezing in the Hudson River, and we wanted to make sure that it looks and feels that way. You experience the cold along with the tension and urgency of the situation when you see the movie.” With deliverables in IMAX and conventional 2.35:1, standard and high dynamic range and HFMP • • • • • NEW! for high brightness laser projection, moving between colour spaces was also an issue. “Because of Baselight and its internal colour science, it is very easy to move between colour spaces,” Gervais said. “We can switch between spaces with Baselight doing virtually all the work.” Baselight also created all the deliverables. This was Maxine Gervais’s second collaboration with Clint Eastwood (she also graded American Sniper). How is he to work with? “I primarily worked with [DoP] Tom Stern, and editor Blu Murray also had a line to the grading suite,” she said. “We get in a good place before Clint comes and reviews the picture with us. He will give his notes and feelings about certain things, and we’ll tweak those.” Looking at her project and her career, the French-Canadian colourist concluded “Baselight is my system of choice. Along with the solid colour science and realtime rendering, it far exceeds my expectations with its creative strength. It gives me complete freedom to create the looks my clients demand. With Baselight, the sky really is the limit.” The professional video monopod specially designed for free-stand operations. Switch function from a shooting mode to a locked vertical position with a single step! Operability & Mobility Hands Free Monopod • Pan Tilt Head with Dual Head Structure (Included with HFMP KIT) Step Lock/Release Foot Pedal Smooth Panoramic Rotation • Industry Standard sliding plates compatible with Manfrotto, Sachtler heads (Included with HFMP KIT) Quick adjustments for your Preferred Height Speedy Open / Close functions • Dual size designed carrying bag Included For more details contact: IDX Technology 01753 547692 www.idx-europe.co.uk HFMP_V1.indd 1 STAND: F20 11/01/2017 16:13 KITPLUS - THE TV-BAY MAGAZINE: ISSUE 121 January 2017 | 51