But we have to make sure that we deliver the visual effect shots in the same colorspace, bitdepth and quality as the source footage. Once the VFX are finished we deliver the shots to the colorist, who then implements them into the grade, by replacing the original shots with the edited ones. Our main software is Blender, with a little bit of AfterEffects for some easier shots. In parallel to that the VFX department (well, us) receives a list with all the shots that need visual effects, as well as the source material for these shots. The colorist, Kay Dombrowsky from Trickkiste, can then import that AAF into his grading software and start working on the grade. Once the edit is done an AAF (Advanced Authoring Format) is exported, along with the source footage. The pipeline for this project looked like this: The DOP (Director of Photography Conrad Lobst) defines the rough look of the scene and lighting, films the movie and then delivers the shots to the editing department. So if you are in a hurry, you can also watch that instead. We already did a very brief talk about this topic during the Blender Conference in 2018. And it’s that bit of extra work that we are going to focus on in this article. They achieve this by using specific encoding techniques which ensure the highest visual quality possible to the expense of some extra work to extract this information. The movie was shot on the ARRI Alexa and the RED Dragon, both two professional cinema cameras, which are able to capture much more lighting information than regular consumer cameras. It was a very interesting technical challenge and we learned a lot from it, so we wanted to share some of that with you. Recently we have been working on a shortmovie called “Der Hauptgewinn” (‘The Jackpot’), by German director Alice von Gwinner.
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