![]() “Then we lifted it up a little to get a bit of fun happening,” said Sam. Very early on, they also wanted to see elements of a 1970s film, which meant working out how to incorporate those while still maintain a modern feeling. ![]() ![]() At one stage, they veered toward a dark, gritty look, a typical ‘Batman’ style. The process began by working with Grant and the director Chris McKay to determine the exact look and feel they were after. ![]() From near the beginning of the project we were working with production designer Grant Freckelton to develop looks and we essentially became an extension of the lighting, compositing and output departments rather than just waiting for finished shots to be delivered to us.” Apocalyptic Baby “Where we might normally have four weeks to grade a live action movie, here we were embedded in the production process for a year. “For this all-animated feature, we acted less as post-production and more as part of the production team,” Sam said. The LEGO Batman Movie Packs a Punch with FilmLight’s BaselightĪnimal Logic’s colourist Sam Chynoweth and editorial and DI engineer Bram Tulloch talk about grading ‘The LEGO Batman Movie’ on FilmLight Baselight, and how they used the system for the DI, plus editing and compositing tasks to give the most recent film in the LEGO movie franchise a modern and entertaining look.
0 Comments
Leave a Reply. |