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REVIEWS CATING EDU OBOTS WITH R Siôn Roberts Online Editor. s post Timeline North’ ctor, production dire X artist colorist and VF used reveal how they e and DaVinci Resolv plete 140 Fusion to com pcoming sketches for u ren’s CBeebies child ots” series, “Spot B live action series of funny Made up of a lar BBC eebies - a popu ches, new CB sket ow “Spot l - animation sh ildren’s channe ch educate entertain and s” aims to both Bot zzles that games and pu ildren through ch at home. ildren to join in encourage ch Resolve Studio agic’s DaVinci Using Blackm , MediaCity software Fusion and VFX sister to complete e North needed based Timelin s for more ade, and effect the conform, gr ots” at an es on “Spot B than 100 sketch per week. to 12 sketches ible rate of 10 incred isolated into sketches were d “Offline locked AF) and importe oring Format (A Advanced Auth mera RAW, to ca ve, conformed r at back into Resol ains online edito ed,” expl from being and finally grad . “Aside , Siôn Roberts olve’s color Timeline North software, Res as a piece of e so intuitive ct choice for th s were the perfe correction tool Resolve is - sive e of how respon the sweet project becaus s saved finding le of second those coup d up. shot really adde spot on every REALISTIC PAR ell T as IC DaV L in E ci S Resolve Studio, the team ed also ed As w te the VFX ne sion to to crea m made use of Fu d everything fro , which involve keying and for the sketches such as positing work to uding traditional com 3D assets, incl r the series was ctive fo ucing full “My main obje ed painting to prod atch every picture m s. For make sure that particle system rtoony feel to it. especially a colorful, ca based interface and had sketches s d Fusion’s node majority of the “I foun gh the graphical item example, thou io us to process lled, well lit stud urce ul, as it allowed usef contro out the so rs. were shot in a mply swapping ve e filmed outdoo efficiently. By si uld instantly ha ent, a few wer environm ing you co me work with,” erial and render to undertake so mat e had start working ss That meant w nt iterations to seem a little le several differe lopment of the those scenes to make took over deve Roberts, who t, Stacey Cain. says coloris gloomy,” adds sed, program’s VFX. was over expo the sky tor to create a or shots where “F particle genera ance “I also used a Resolve’s lumin w the flying fairy d I made use of that would follo tool to isolate an “The flight pixie glow trail in the Qualifier ,” he explains. e component rs on the show slightly drop th in Fusion’s characte ould then e created with apes key the sky. I w detail in the sh r the effect wer ctional paths fo ck some into meant the dire gain to bring ba onment, which some blue back istic. Also, 3D envir and push e far more real of the clouds, the particles ar lor tools.” ulate the forces on esolve’s co ot, I could sim the sky with R ing a moving sh by track d effectively positioning an shot’s camera e perspective original d with the sam glow I’d create film the final comp.” realism to the added a lot of - which RESPONSIVE G GRADIN 74 | KITPLUS - THE TV-BAY MAGAZINE: ISSUE 110 FEBRUARY 2016