Creating the right image
by This email address is being protected from spam bots, you need Javascript enabled to view it on Saturday, 20 June 2009
One attractive shot in the film is where the construction workers walk in from the shadows into the construction site. The shot is almost reminiscent of a band of secret service men going on a mission in your typical Hollywood thriller. The corresponding music adds an element of mystery to the scene as well.
“It’s all done inhouse,” Adam explains.
Equipped with four Avid Adrenalines connected via fibre to an Avid Lanshare as well as an Avid DS version 10, Adam claims the facility is well equipped to meet the demands of any post production challenge. Besides the four Avid editing suites, the facility includes suites dedicated to Protools and Maya as well.
Director Greinar explains that several different applications were used in post to create the final look of the film.
“We used several different applications depending on which was the most convenient to get the job done. We used the Avid DS Nitris and Adrenaline, the Eyeon, the Boujou Silver Bullet, Ozone as well as Maya to put the whole thing together,” explains Greinar.
”Perhaps the most time consuming was adding 3D elements to the film,” he adds.
One issue that needed to be addressed was the landscape itself, Greinar continues.
The UAE’s grim silver grey skies needed to be reworked in post to appear more warm, welcoming and moving to the human eye.
A look at the raw footage and a glimpse of the stunning transformation achieved in post with heavy grading is a reflection of how much images can be manipulated at the editing table. Grey skies and dusty environments have been replaced in different sequences with beautiful sunsets, blue skies and clouds.
Macmillan Adam has cleverly cut between construction work and Dubai’s landscape. In addition to this, short spurts of interviews with some of the key people at the company as well as the attempt to show that the company cares for its workforce reinforces the human element in the video. “Everything came together in post; this has been our forte all along,” explains Adam, although the company produces all of its films and received the keys to its new production unit at Dubai Media City last month.
It is often thought that there’s more excitement, stunts and effects in TVCs. A look at the corporate videos made at this facility, however, shows that making them calls for greater imagination and script writing skills to bring life into what could easily be a boring narrative.
Step 1: Carefully plan angles and moves with precise planning for maximum impact of skies.
Step 2: Shoot shot, bearing in mind the exposure to allow for relative compensation of aperture for replacement skies. Also keep in mind the motion of the camera and the inclusion of tracking points for reference within Boujou.
Step 3: Offline material, select effects shots from edit.
Step 3: Digitize selected shots at HD. Export clip as high res TGA sequence.
Step 4: Load sequence into Boujou Silver Bullet. Track in 3D space to create 3D camera move.
Step 5: Export 3D camera move to MAYA 2008. Check move. Adjust and smooth as necessary.
Step 6: Create photo real sky with Ozone plug in within MAYA.
Step 7: Render High res sky images using Mental Ray.
Step8: Import Skies into AVID DS Version 10.
Step 9: Composite and grade. Including tracking shadow passes and cloud passes into composite.
Software and edit suites used:
AVID Media Composer Adrenaline Version 2.6.7
AVID DS|HD Nitris Version 10
Eyeon Digital Fusion Version 5 - 64 Bit version
Boujou Silver Bullet Version 4
Ozone Version 3
Maya Complete 2009 - 64 Bit version
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