“We’ve built a robust set of proprietary tools, called JARVIS, to automate a lot of our processes on the front end,” said Jacobs. The Marvel post production team were able to further integrate DaVinci Resolve Studio into their pipeline by using the DaVinci Resolve developer application programming interface (API) to create custom tools to aid their workflow. “We spent a lot of time with Sandra and her team on AvengerCon, making sure that the two colourful worlds were still separate enough to show off the power of the ‘hard light.’ We used a lot of mattes to create subtle separations between the two,” he said. Watson focused on ensuring that the imagery stood out without becoming muddled or confusing. “It was dubbed ‘hard light’ in the show, and it was easy for it to drift into looking like ice or crystal.” “The look of Kamala’s energy was something we played with a lot, both in VFX and in DI,” continued Jacobs. The first time Khan shows her powers was critical to balance correctly.
The graphic montage in episode one was 14 layers of comp tracks and graphics overlays, and while it required careful navigation while grading all the layers, it really paid off having the flexibility in the final stages of DI.”Īn early scene set at AvengerCon combined massive VFX with colorful art direction. “All the split screens and graphic overlays were comped in Resolve for full flexibility.
“We built as much as possible in Resolve,” added Watson. We really leaned on Resolve’s compositing capabilities for this project.” “We used Resolve to do many of the comps in the live grade to allow this. “We needed to preserve the ability to control the underlying plate colour without adversely affecting the graphics,” explained Jacobs. Watson and Jacobs worked with visual effects supervisor Sandra Balej to design a workflow that would allow for tight integration between the vendors supplying the graphics and DI. “As soon as VFX has early ideas that they want to play with, we bring them into DI to see how they will work and how we can help the plate photography and VFX work well together.” “Here at Marvel, we spend a lot of time with the VFX teams, starting as early as possible during post production,” said Watson. Using DaVinci Resolve Studio, colourist Matt Watson engaged with VFX early on. “We really pushed the look of the show to be very unique within the MCU, and we’re so proud of the final result.” “The creative team for Ms Marvel really wanted to lean into the use of saturated vibrant colour,” said Marvel creative finishing supervisor Evan Jacobs. The production team behind Disney Plus’ Ms Marvel employed Blackmagic Design’s DaVinci Resolve for editing, colour grading, visual effects (VFX) and audio post production.
0 kommentar(er)
