Now they have an absolute guide that has been bought off in a color calibrated room. “We can render a frame and send it to the VFX house.
“I don’t want to do full VFX in the ,” he says, citing a few examples of how he sees the toolset instead being used. Scott emphasizes that the model is not being designed to intrude on the VFX houses’ role - rather, he believes it would aid VFX artists by making their job easier. “It’s a way for them to be more engaged in the images that they authored in the first place.” “What we are working on is an explosion of creative tools that have never been accessible to the DP,” he adds. “It’s the flexibility of a having a range of options … which are as simple or complicated as you want. “It could be used in any number of ways,” he says. Scott - who has a background as a digital compositor and thinks skill sets will continue to evolve - believes there are numerous advantages to such a single toolset, which broadly speaking is more creative control, flexibility and options at more stages of production, for all involved, including the director, director of photography, and VFX team. Technicolor will be working closely with Autodesk, and serving as a test site. The end goal, according to Scott, is to create a single procedural finishing system that would offer tools from both disciplines - essentially the same software could sit in either VFX or postproduction environments. Technicolor - led by the vision of its Steve Scott, one of Hollywood’s most respected colorists - has entered into an agreement with software developer Autodesk to bring together tools used in digital compositing and color grading.Īutodesk is both the developer of Flame, which is compositing software used by VFX pros, and Lustre, which is color grading software for colorists.