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3D Postproduction Advances

Mar 9, 2010 12:00 PM, Based on content from Claudio Hernández, editor, The Lady and the Reaper

An overview of Oscar-nominated short film The Lady and the Reaper's postproduction workflow.

A collaborative environment

An Avid Unity shared-storage system served as the main repository for the postproduction team's final resolution frames. The Unity system acted as a bridge between editing and composition departments, saving the team hours of postproduction time by eliminating data traffic and enabling cross-department access to the Avid MXF files. Both the composition and editing teams systems were connected to Unity via a 4GB fiber network, which ensured shared access, immediate availability and a reliable read rate across multiple creative contributors.

For the online digital color correction and conform, the original TIFFs were sent to Evasion Digital in Madrid, along with the Avid EDL generated at Kandor, to create the final film master (16 bits color depth). This process produced a reliable and accurate result of the color palettes in line with the director's original selection.

As such, Evasión was responsible for the color correction and creation of the master for 35mm screening. In addition, the material was conformed with two views for stereo 3D (left and right)—both previously color corrected by Kandor specifically for the digital material. Handing over the footage, Technicolor London produced a digital cinema package (DCP) for 3D display which was also compatible with Dolby 3D.

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Sound

Arama Facilities in Madrid created the film's sound elements and music. Kandor sent the sound tracks in AAF multichannel format—which became the basis for designing the final sound in Surround 5.1 format. Arama Facilities used an Avid Pro Tools system to accurately read the relevant information from Kandor's offline Media Composer sessions. This integrated audio and video workflow provided a convenient flow of continuous updates and feedback on the sound progress.

Once the soundtrack was completed, Kandor received a reference stereo sound track to produce a general offline for checking synchronization. The surround master was included in the final laboratory phrase, for the 35mm, and in the 3D stereo DCP generation in Technicolor London.

To view the 8-minute short film, which was nominated but did not win the Oscar Sunday, check out the official site.

Film credits

Javier Fernández: Post-Production and Digital Colour Correction Supervisor
Claudio Hernández: Avid Film Editor and Offline Manager
Antonio Montes: 3D stereo format image and DCP Supervisor.

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