Codex at heart of “X-Men” pipeline
LONDON–Multiple Codex recording and workflow technologies were used at the heart of the production-to-post pipeline on 20th Century Fox’s superhero movie “X-Men: Days Of Future Past.” A combination of Codex Onboard Recorders, in-camera XR recording, and Vault systems, enabled the filmmakers to deploy a variety of ARRI Alexa cameras, shooting both native 3D and 2D using ARRIRAW, and to maximise image quality on-set and during post production.
“X-Men: Days of Future Past” is directed by Bryan Singer, with cinematography by Newton Thomas Sigel ASC. Boasting a stellar cast, that includes Jennifer Lawrence, Michael Fassbender, Evan Peters, Hugh Jackman, Ellen Page, Anna Paquin, Ian McKellen, Patrick Stewart and Halle Berry, this latest chapter in the Marvel saga sees the X-Men characters joining forces with their younger selves to change the past in order to save the future.
Singer and Sigel, who also worked together on “X-Men” and “X-Men 2,” had used other digital cameras on previous 3D native productions, but elected to shoot “X-Men: Days Of Future Past” in native 3D using ARRI Alexa M and Alexa XT cameras supported by the Codex/ARRIRAW workflow.
“I like the look of Alexa,” said Sigel. “It’s a kind of softer look (to other digital cameras), with more half tones, more variations of color, and it was a better look for this project. I was able to get wardrobe to give me a lot of saturated colours on background extras in oranges and yellows and reds – very intense colours that were easier to isolate, grab onto and actually desaturate later.”
Sigel added, “By the time we started ‘X-Men: Days Of Future Past,’ ARRI had come out with Alexa M. I was able to use them with TS5 3D rigs from 3ality and Codex Onboard S Recorders. The 3D rigs are pretty solid, but what’s evolving are the cameras and lenses that are available for them. The options are expanding, and the Alexa M is certainly a step in that direction. We also had some 2D stuff, and for that we were able to use the Alexa XT and record the ARRIRAW right onto the in-camera Codex XR drives, and that was very liberating.”
Speaking about Alexa XT, 3D systems supervisor Ben Gervais said, “The Alexa XT with internal Codex recording is a game-changer for us. It’s a great leap forward, enabling 120 frames per second recording in ARRIRAW, with a reduced footprint and increased reliability.”
The second unit cinematography, under the auspices of DP Larry Blanford, shot at more remote locations, using Alexa XTs and a Codex Vault system to view images during the shoot and to back-up the files during transport.
During production on “X-Men: Days Of Future Past,” the different ARRI cameras output Log C images, and these were given an initial grade by DIT Julie Garceau. The grades and the footage were then passed to Company 3, which maintained a truck near the set and later completed the final DI grade. Company 3 ingested the footage to a SAN, and processed it. The truck included a projector for screening. Dailies colorist Adrian DeLude finessed the on-set colour and the footage in 3D with Sigel and stereographer John Harper in attendance.
Although Singer did not look at 3D on-set, preferring to focus on performance, Sigel usually watched a 3D image during playback. With this in mind, Gervais commented that the goal was to make shooting native 3D as easy as possible.
“That meant being mobile, with a small footprint and the ability to go anywhere Tom and Bryan wanted,” he explained. “I approached this in terms of equipment capability, performance, size, reliability and flexibility. We selected fibre-optic systems that allowed us to have essentially an unlimited cable run between the 3D rigs and our workstations. For each Alexa M we used a single Codex Onboard S Recorder, allowing us to record up to 60fps in ARRIRAW for each 3D ‘eye.’”
Regarding the Codex/ARRIRAW capture format, Gervais noted, “In terms of creative latitude, the choice is simple. ARRIRAW is uncompressed – every subtle detail is preserved. It lets the DP and director make the choice about what details are important to the image in DI, rather than letting an algorithm decide for them. It’s particularly important for scenes where you have extremes of contrast – day exteriors with harsh sunlight.”
Speaking about the importance of the Codex/ARRIRAW workflow in his creative approach to the movie during the DI grade, Sigel said, “First of all, it helps in terms of color correction and image quality, because you’re getting the highest resolution possible. Starting from scratch gives you the greatest range, and the maximum ability to manipulate and do subtle things later. It also gives greater freedom for editorial to blow up, to move the image around.”
Codex recording and workflow technology has been used on hundreds of motion picture productions worldwide. Forthcoming releases to rely on Codex products include: “Dawn Of The Planet Of The Apes,” “Jupiter Ascending,” “Hercules,” “Jersey Boys,” “Guardians Of The Galaxy,” “Sin City: A Dame To Kill For,” “The Fault In Our Stars” and “Sex Tape.”
FilmLight demonstrates complete digital dailies workflow at Expo Cine 2014
LONDON–FilmLight, alongside its local partner AMTEC, will be demonstrating its new Baselight DAILIES solution and complete digital dailies workflow in a real-world implementation at Expo Cine, Video y Televisión 2014, June 3-6.
Leading the products on display will be FilmLight’s Baselight DAILIES solution. Introduced at NAB2014, Baselight DAILIES is an exciting new addition to FilmLight’s color range, designed for mobile postproduction on location. It will be offered as a cost-effective and intuitive software solution, running on standard Mac hardware.
Baselight DAILIES forms part of an integrated end-to-end grading workflow, which will also be demonstrated to attendees at this year’s show. The workflow begins with FLIP, FilmLight’s real-time image processor. FLIP takes away the guesswork of digital cinematography, and enables the director’s first thoughts to become the foundation for the final grade.
Using the OpenEXR-based Baselight Linked Grade (BLG) file format, grading decisions can then be passed seamlessly from FLIP to Baselight Editions. This can be passed to editorial using Baselight for Avid or Baselight for FCP 7, and also to VFX, using the new Baselight for NUKE solution.
Also announced at NAB2014, Baselight for NUKE gives VFX artists the ability to accurately preview fully graded shots, resulting in better compositing control while alleviating the need for additional amends due to changes made in color correction.
The integrated workflow ends on a full Baselight system for professional finishing. Slate, the compact grading control panel designed for both Baselight and Baselight Editions, also provides professional control at every stage.
Turner Studios selects Pablo Rio
NEWBURY, UK–Atlanta-based Turner Studios, a full-service production division of Turner Broadcasting System, Inc. (TBS, Inc.) has purchased a Pablo Rio color and finishing system. The system will provide comprehensive postproduction and creative services to all of Turner’s Entertainment Networks including TBS, TNT, TCM, Cartoon Network and Turner Sports. Turner Studios has also purchased a Neo Nano panel for enhanced color control.
Pablo Rio is Quantel’s high-quality color and finishing system that provides the ultimate productive workflow for 2D and S3D projects. Capable of handling 4K 60p in realtime, Pablo Rio runs on high performance PC hardware and exploits NVIDIA Maximus multi-GPU technology to deliver true interactivity and maximum productivity.
John Mandato, sr. editor at Turner Studios, said, “As an artist, Pablo Rio provides the tools I need with the ergonomics that fit a more creative workflow. I spend a lot less time thinking about the processes, and more time exploring creative options.”
Steadicam Smoothee mount unveiled
HAUPPAUGE, NY–The Steadicam division of The Tiffen Company, a manufacturer of award-winning digital imaging accessories, has released a new Steadicam Smoothee mount for Drift action cameras, expanding its collection of stabilizer options for filming enthusiasts and professionals. The Steadicam Smoothee, which is featured in the new Apple “Powerful” commercial, lets users capture the action using Drift cameras, without the shakes normally associated with hand-held video. “The Steadicam Smoothee is helping shape a new generation of filmmakers,” said Steve Tiffen, CEO and president, The Tiffen Company. “Cameras like the Drift offer a new level of versatility we once could have never even imagined. Combine that with the Hollywood ingenuity of Steadicam, and you enable a new class of filmmakers to capture their unique visions with clarity and quality. This latest addition to the Smoothee line continues to change the game for what’s possible in the world of small-camera filmmaking.”
The lightweight, agile and easy-to-use Steadicam Smoothee features an innovative, patented design built around a durable mono-frame metal structure. The new Drift mount expands the list of models compatible with the Steadicam Smoothee line to include: Drift HD170 Stealth, Drift HD, Drift HD720, Drift HD Ghost and Drift Ghost-S.
The Steadicam Smoothee ships with an easy-to-use interchangeable mount for expanded camera options. In addition to the Drift HD170 Stealth, Drift HD, Drift HD720, Drift HD Ghost and Drift Ghost-S, the Smoothee can also be used with an iPhone 3Gs/4/4s/5/5s, iPod touch, GoPro® HERO®, 2, 3 and 3+.
wysiwyg makes light of Macao’s “Rhythm of Life” celebration
TORONTO–The ability of CAST Software’s wysiwyg pre-visualization solution to enable unique creative event ideas–while saving time and money–has been showcased by The Rhythm Of Life, a majestically colorful multimedia show held in Macao’s ancient city centre.
Commissioned by the Macao Cultural Institute and under the artistic direction of Lebigre & Roger,”The Rhythm of Life” celebrated the Latin heritage of Macao–today a separately administered part of China, but until 1999 a colony of Portugal. Featuring dozens of performers wearing traditional painted faces, the parade was inspired by the great carnival of Viareggio in Tuscany.
“In total this was a three-hour show with around 2,500 cues, all of them controlled by SMPTE, and 1,300 lighting fixtures,” said Alessio de Simone, lighting and show designer at Italy’s Trussdesign.it, which was contracted by Lebigre & Roger to produce the lighting and staging concept for ‘The Rhythm of Life’.
“We used wysiwyg in all phases of the project,” continued de Simone. “We began with the CAD function for our own internal brain-storming, then used the Design function to develop renderings that could be presented to our customers.
“Once the main structure had been approved, we created a Lighting Plot, and finally, once we had received the soundtrack of the show and the choreography, we literally locked ourselves in the blue room in our office where, for about six weeks, we pre-programmed the whole event scene-by-scene.”
De Simone says that wysiwyg’s ability to create moving “points of view” from virtual cameras was invaluable in assessing the detail of light-fixture positioning and programming, as well as the effectiveness of the design as a whole. The final setup, complete with four spectacular automated ‘marionettes’ dancing and soaring up to 9m into the air, was realised in remarkably short order once the Trussdesign.it team had arrived in Macao.
“We placed all the projectors as called-for in our wysiwyg documentation, turned on all the moving heads–and every scene position was exactly as it had been in our pre-visualization. With small adjustments for pan and tilt, gobos and beams were perfect – just like they had appeared in our designs, 10,000km away.”
“The Rhythm of Life” was performed in front of 20,000 people and shown on three different Chinese TV channels. Yet without wysiwyg, the show might not have gone ahead at all, as monsoon rain swept through Macao in the days prior to the production, effectively halting all on-site programming.
“The rain stopped the job completely,” recalled de Simone. “As every lighting designer knows, when you have outside fixtures you can’t program during the day–only at night. And the rain just didn’t stop. Fortunately, thanks to our pre-visualization with wysiwyg, we had already fixed everything in our control panel.
“On the night of the performance, the sound manager pressed ‘Play’ on his Mac, we watched the SMPTE on our Hogs, sat back, relaxed…and enjoyed the show!”
Bruce Freeman, chairman, CAST Group, concluded: “wysiwyg users are independent professionals. Whether you design for live theatre, special events, TV/film or Macao, you compete and you must deliver globally. Previz that does not cheat is vital – you must have confidence. This story is a great example of how pros used wysiwyg and the significance of previz as well as the rich graphics that make renderings really virtually real. Another reason wysiwyg’s previz often plays such a big role in special events is that it is “green”–it can save up to 60% of electricity costs because you don’t need to take over the space and run the lighting for the design phase.”
