They began with some concept stills and bouncing ideas off each other Shifflett, had read Dick’s book, and we really wanted this project.” “Both myself and another supervisor here, Todd Instead of waiting to be called for a bid, they got aggressive… in theīest possible way.
Zoic’s path to getting the VFX gig was a bit different than most. That team was led by visual effects supervisor Jeff Baksinski. Received one of the show’s four Emmy nods for its visual effects work. Helping to create these “new” worlds was Zoic Studios, whose team San Francisco, and the entire WestĬoast, is now under Japanese rule, complete with Japanese architectureĪnd cultural influences. Hitler and a bizarro American flag, whose blue stripes have been For example, New York’s Time Square has its typicalīillboards, but sprinkled in are giant swastika banners, images of The Man in the High Castle features familiar landmarks with Up for its second season premiere in December. Dick’s 1963 novel andĪmazon’s series, The Man in the High Castle, which is currently gearing Look like? That is the premise of Philip K. What if Germany and Japan had won World War II? What would the world Zoic Studios used visual effects to recreate occupied New York and San Francisco.
#Codecs for adobe premiere for blackmagic cinema 2.5k software
Working with log ProRes is far faster because the deBayering is done in-camera rather than in software on a computer. While pre-processing RAW isn’t difficult, it is very time consuming. These segments will be compressed to ProRes 4444 during export.) (Effects and composites must, of course, be decompressed - from ProRes 4444 - to RGB floating point. By creating a proxy (ProRes) file at import, editing will be done using this performance-oriented file.ĭuring export, ProRes 4444 source files are written to disk. Figure 11 shows the import dialog box for FCP X. It will take some time to deBayer each frame. Set the Output Module to “Custom: ProRes 4444.” Doing so defines a conversion of 12-bit RAW frames using floating path math to 16-bit values that are exported as ProRes with 4:4:4 color sampling. Issue the Composition>Add to Render Queue command. (See Figure 10.)ĭouble click the clip so you can see it in the Viewer. Now, set the Frame Rate to 23.976 and click OK. Set Preset to “Custom” and dial in 2432px and 1366px. Next, issue the Composition>New Composition command. This type of adjustment is called a “one-light” grade. (See Figure 9.) When finished grading the RAW frame, click OK to make all frames in a clip share the same settings. Next, a slight S-curve is applied to deepen shadows and add punch to the highlights.
Figure 8 shows the scene with the Custom color temperature dialed down to 2700 degrees. On page 12, Figure 7 shows the control panel with white balance controls that are by default set to “As Shot.” This footage, courtesy Marco Solorio (©2012, OneRiver Media), looks perfect - too perfect for use in a noir production.
The frame will be deBayered to create an RGB image. Click Open to import the clip and auto-open the Camera RAW window. Also, confirm Camera Raw Sequence is checked. Select the lowest number frame and confirm Format is Camera Raw. (See Figure 6.) Now browse to a folder of DNG frames. Then, issue the Files>Import File… command. Set Depth to “16bpc” which defines the project to have RGB channels with each channel utilizing 16-bits. I used After Effects for this article.Īfter launching AE, go to Preferences and choose Import>Sequence Footage. These include: DiVinci Resolve (from Blackmagic) Speedgrade for Premiere CS6 and Adobe After Effect’s (AE) RAW importer. Several applications can handle RAW footage. These uncompressed 12-bit data are recorded to an SSD. The left path presented in Figure 2 shows the 2.5K 12-bit CMOS sensor feeding logic that wraps the serial-RGB raw signal as CinemaDNG data. You can now proceed with editing the footage. The final step is to click the Show Curves button to disappear the superimposed curve. One disregards them when looking at the signal.įigure 5 displays the image that is the result of pushing the right-most nodes higher thereby compensating for the underexposed shot. (See Figure 5.) These nodes appear in the waveform monitor as five luma peaks. A linear curve with five nodes on top of a visible frameĪ curve with five nodes appears superimposed over the visible frame.
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