In Broadcast - April 2014 - 26


I N T E R N A T I O N A L

WWW.INBROADCAST.COM | ISSUE 30 - APRIL 2014

N E W S

InFORM

DaVinci Resolve Colours 'Need For Speed'

Blackmagic Design's DaVinci Resolve 10 was used in Bandito Brothers facility by Mark Todd Osborne
for advanced colour work on Hollywood blockbuster 'Need for Speed'...

F

26

reelance colourist Mark Todd
Osborne worked at LA based
production and post company
Bandito Brothers' state-of-theart facility on the 2K DI colour
for various screenings and
previews.
"There was a team aspect that
went into the post process for
this film that enabled us to start
work on colour much earlier than
the norm, which also allowed
the colour to evolve with the cut
over time," said Mark Graziano,
Executive Vice President of
Post Production at DreamWorks
Studios. "In addition, this
collaborative workflow afforded
us the luxury of having screenings
at a higher resolution with a more
refined picture.
"Mark put us in a really fantastic
place early on in the post process
as far as 2K DI colour," he said.
"The workflow at Bandito Brothers
coupled with Mark's colour helped
us put our best foot forward for
important screenings very early on,
five to six months in advance of
delivery. It also enabled us to take
our time through the process of
refining the picture, as opposed to
the frantic pace at the end of the
film that is typical."
In addition, Bandito Brothers were
able to provide 2K colour corrected
footage for 3D conversions.
According to Graziano, very rarely
does a stereo conversion provider
receive colour corrected files to
use for its conversion process, and
Osborne's advanced colour work
made it much easier to address
creative notes and made the overall
3D process smoother.
Based on the popular series of
video games, 'Need for Speed' is
a high octane, action packed thrill
ride that follows a street racer on a
cross country race of revenge.
Osborne was tasked with
enhancing the film's authentic look,
while also creating a rich setting
with high saturation and strong

Blackmagic Design's DaVinci Resolve 10 finessed the film's colour

contrasts to help convey mood,
tone and intensity. With numerous
high energy race scenes and real
life stunts, Osborne used DaVinci
Resolve 10 to subtly heighten
emotion and excitement, helping to
draw the audience in through colour.
"DP Shane Hurlbut introduced me
to photographer Todd Hido, and
we used his work as inspiration to
achieve a natural look that still had
an edge," said Osborne. "We often
had three or four different sources
of greens, yellows and blues, so
a mixture of warms and cools
with different gradients across the
frame, but still maintained a source
of light. DaVinci Resolve's Power
Windows, custom curves, chroma
keys and luminance keys helped me
finesse these looks and enhance the
qualities in Shane's footage."
Osborne noted that there were
several major race scenes where
colour not only enhanced the
intensity, but was also necessary for
consistency. "The lighting alternated
between sun and heavy clouds in
one scene, and that change can
distract the audience and take
them out of the experience. I used
Power Windows, keys and curves to
maintain a consistent overcast look
with cooler colours and a saturation

Customised: Ford's wide-body Mustang plays to the camera ('Need for Speed'
images courtesy of DreamWorks Pictures / Reliance Entertainment)

pop for effect, which also helped
convey a darker, more turbulent
mood," he explained.
Osborne added: "On the flip side,
there was a big race sequence
in the Red Rock Canyon desert,
and the red rocks weren't filming
consistently. We wanted them warm
and yellow to play up the heat and
tension, but sometimes they looked
cool and blue. On top of that, the
scene is shot in and out of cars,
between the rocks and then back in
the cars. DaVinci Resolve's tracker
was a big help in delivering precise
colour in a snap."
Osborne was also able to rely on
DaVinci Resolve's auto key frame
tracker without having to extensively
track and key frames manually.
"Tracking made so much difference
for me," said Osborne. "DaVinci
Resolve's auto tracking got it right
the first time. Some shots can move
too fast for a system to handle, and
you have to go in manually and fix
them, but that rarely happened with
DaVinci Resolve. It's these things
that add up and save on time.

"It's also so user friendly that I don't
have to think about the technology
and tools when I work. Instead, I
can focus on crafting the image and
stay in the creative process. There
was a lot of meticulous colour that
went into this film, and it draws the
audience in and helps tell the story,"
he concluded.
"We don't just have a dedicated
DaVinci Resolve suite at our facility.
Blackmagic Design makes up the
backbone of our operations with
a Videohub router, numerous
DeckLink cards and HyperDeck
Studio Pro SSD recorders. We
were thrilled to have an artist like
Mark showcase his creativity and
sophistication in our colour suite,"
said Jacob Rosenberg, CTO and
Director at Bandito Brothers.
"Scott Waugh is not only the film's
director, but he's also a co-founder
of Bandito and an editor on the
film. So 'Need for Speed' was a
really personal project, and we were
all deeply invested. Mark came in
and immediately invested himself
100 percent."

Street racer Tobey Marshall (Aaron Paul) and Dino Brewster (Dominic Cooper)
in the 'Need For Speed'


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Table of Contents for the Digital Edition of In Broadcast - April 2014

In Broadcast - April 2014 - Intro
In Broadcast - April 2014 - Cover1
In Broadcast - April 2014 - Cover2
In Broadcast - April 2014 - 3
In Broadcast - April 2014 - 4
In Broadcast - April 2014 - 5
In Broadcast - April 2014 - 6
In Broadcast - April 2014 - 7
In Broadcast - April 2014 - 8
In Broadcast - April 2014 - 9
In Broadcast - April 2014 - 10
In Broadcast - April 2014 - 11
In Broadcast - April 2014 - 12
In Broadcast - April 2014 - 13
In Broadcast - April 2014 - 14
In Broadcast - April 2014 - 15
In Broadcast - April 2014 - 16
In Broadcast - April 2014 - 17
In Broadcast - April 2014 - 18
In Broadcast - April 2014 - 19
In Broadcast - April 2014 - 20
In Broadcast - April 2014 - 21
In Broadcast - April 2014 - 22
In Broadcast - April 2014 - 23
In Broadcast - April 2014 - 24
In Broadcast - April 2014 - 25
In Broadcast - April 2014 - 26
In Broadcast - April 2014 - 27
In Broadcast - April 2014 - 28
In Broadcast - April 2014 - 29
In Broadcast - April 2014 - 30
In Broadcast - April 2014 - 31
In Broadcast - April 2014 - 32
In Broadcast - April 2014 - 33
In Broadcast - April 2014 - 34
In Broadcast - April 2014 - 35
In Broadcast - April 2014 - 36
In Broadcast - April 2014 - 37
In Broadcast - April 2014 - 38
In Broadcast - April 2014 - 39
In Broadcast - April 2014 - 40
In Broadcast - April 2014 - 41
In Broadcast - April 2014 - 42
In Broadcast - April 2014 - 43
In Broadcast - April 2014 - 44
In Broadcast - April 2014 - 45
In Broadcast - April 2014 - 46
In Broadcast - April 2014 - 47
In Broadcast - April 2014 - 48
In Broadcast - April 2014 - 49
In Broadcast - April 2014 - 50
In Broadcast - April 2014 - 51
In Broadcast - April 2014 - 52
In Broadcast - April 2014 - 53
In Broadcast - April 2014 - 54
In Broadcast - April 2014 - 55
In Broadcast - April 2014 - 56
In Broadcast - April 2014 - 57
In Broadcast - April 2014 - 58
In Broadcast - April 2014 - 59
In Broadcast - April 2014 - 60
In Broadcast - April 2014 - 61
In Broadcast - April 2014 - 62
In Broadcast - April 2014 - 63
In Broadcast - April 2014 - 64
In Broadcast - April 2014 - 65
In Broadcast - April 2014 - 66
In Broadcast - April 2014 - 67
In Broadcast - April 2014 - 68
In Broadcast - April 2014 - 69
In Broadcast - April 2014 - 70
In Broadcast - April 2014 - 71
In Broadcast - April 2014 - 72
In Broadcast - April 2014 - 73
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In Broadcast - April 2014 - 75
In Broadcast - April 2014 - 76
In Broadcast - April 2014 - 77
In Broadcast - April 2014 - 78
In Broadcast - April 2014 - 79
In Broadcast - April 2014 - 80
In Broadcast - April 2014 - 81
In Broadcast - April 2014 - 82
In Broadcast - April 2014 - S1
In Broadcast - April 2014 - S2
In Broadcast - April 2014 - S3
In Broadcast - April 2014 - S4
In Broadcast - April 2014 - S5
In Broadcast - April 2014 - S6
In Broadcast - April 2014 - S7
In Broadcast - April 2014 - S8
In Broadcast - April 2014 - S9
In Broadcast - April 2014 - S10
In Broadcast - April 2014 - S11
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201705
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_cabsat2017
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201703
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201701
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_INREVIEW2016
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201612
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201611
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOWNYexpo
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_20110708_DEMO
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_inshowguide2016
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201609
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201608
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201607
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201606
http://europe.nxtbook.com/nxtbooks/lesommet/inbroadcast_APAC03
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201605
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOW2016
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201604
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201603
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_cabsat2016
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201602
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201601
http://www.nxtbook.com/nxtbooks/lesommet/inbroadcast_APAC02
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201512
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201511
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_CCW15expo
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201510
http://www.nxtbook.com/nxtbooks/lesommet/inbroadcast_APAC01
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201509
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_IBC2015
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201508
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201507
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201506
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_BROADCASTASIA2015
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201505
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201504
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOW2015
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201503
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_cabsat2015
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201502
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201501
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201412
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201411
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201410
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201409
http://europe.nxtbook.com/nxteu/lesommet/inbroadcastIBCPRINTEDGUIDE_201409
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