LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

Baselight Ka-booms in Belfast

COW Library : Color Grading : FilmLight : Baselight Ka-booms in Belfast
CreativeCOW presents Baselight Ka-booms in Belfast -- Color Grading Editorial


United Kingdom
CreativeCOW.net. All rights reserved.


Belfast, in Northern Ireland, doesn’t have a great history in post-production. But Ka-boom, which started in 2010 as an audio facility, the specialisation of co-founder Will McConnell, quickly grew to fill the void in a city which is now rapidly becoming a major production centre.

<em>Rapidly growing post house adds Baselight grading suite for new BBC broadcast project, <strong>Can't Touch This</strong>.<br><br></em>
Rapidly growing post house adds Baselight grading suite for new BBC broadcast project, Can't Touch This


The first progression for Ka-boom was into picture editing, with the installation of a number of Avid editing suites. Early on the company recognised that they needed more than the basic colour tools provided in editing software, so they invested in Baselight Editions. This plugin puts the full Baselight grading toolset into the Avid environment, allowing the editor to take more creative colour control as well as open up the possibility of a fluid and flexible exchange of grades between editors and colourists.

This proved so successful that Ka-boom soon decided to invest in a full grading suite. They installed a Baselight ONE with Slate control panel, housed in a room built by one of FilmLight's distribution partners, Tyrell, who are also Ka-boom's regular and long standing systems integrator.

"We used Baselight for Avid for about 14 months before the full system went in," explained co-founder Zach Willis. "It gave us a good understanding of how the system works, so it was seamless when we put in the full Baselight system - nothing was alien to our colourist and he could instantly start work.


Ka-boom Online Room with Baselight Editions
Ka-boom Online Room with Baselight Editions


"The team at FilmLight finished the installation on a Friday night, and on the Monday morning we were grading a BBC Scotland show," he added. "We got great support from FilmLight, and because of Baselight Editions we could jump straight into grading a documentary. And the system has not been idle since."

As well as work for various parts of the BBC, the facility and its Baselight suite have been busy with work from further afield, including a five-part series for Al Jazeera and the RTS award winning Channel 4 series, Dispatches. Ka-boom also posted some short films, working in 2K rather than HD and delivering DCPs, directly output from Baselight.


Ka-boom's Jim Agnew in Baselight room
Ka-boom's Jim Agnew in Baselight room


The biggest project came in 2015 when Belfast indie production company Stellify Media won a huge entertainment contract from the BBC, and was keen to keep the whole project produced and finalised in Northern Ireland. Ka-boom demonstrated it could handle the complete post - including grading - and in turn won the project.

Can't Touch This is a Saturday night primetime game show, involving the biggest set the BBC has ever constructed - about 40,000 square feet and involving a platform six metres off the ground. The simple objective is if you touch a prize you win it - but you have to cross a massive obstacle course to reach the prizes. The commissioners wanted something big, bold and exciting.



On the set of "Can't Touch This"


The 10 x 60-minute series was shot using a 12-camera outside broadcast truck. There were also a number of fixed rig cameras, mainly GoPros, and three super slow motion cameras. For each day's shooting Ka-boom was ingesting around four terabytes overnight, ready for the next day's work.



On set.


Ka-boom provided three edit suites, with each editor working on a separate show. All the raw content was transcoded to DNxHD at 120 Mb/s. And, because the Avids were running Baselight Editions, Ka-boom could set up a render-free workflow for Can't Touch This to maximise efficiency, quality and creativity.

An episode would stay in the Avid suite until first picture lock, then be handed over to the colourist. The requirement for the show was that it had to be larger than life, so the colourist had the freedom to use the Baselight toolset to create a bold, striking look. The Baselight architecture meant that all grading was done on the original full resolution rushes in the Baselight suite and that the grades would be captured as metadata.

Once the grade was complete it was published as a new Avid AAF, and the producers and executive producers could review the show in the master editing suite. Because this also included the Baselight for Avid plugin, if there was anything that needed fine adjustment it could be done there and then.

"This was one of the big pluses for Baselight versus anything else," said Ka-boom's Zach Willis. "You never have to round trip, you never need to get the colourist to break off from what he is doing. The colourist could be grading away in the Baselight suite and the editor could be reviewing in the online suite, tweaking in Baselight Editions. That is why we chose this workflow, and that is why we chose Baselight.


revolving stage
"Can't Touch This" revolving stage


"With the full Baselight ONE system, Editions and the render-free workflow, all barriers are lifted," he added. "Our clients have noticed this, too. They can see right away the flexibility we have and efficiency we can deliver. We're spending the same amount of time with clients but they're getting a better product. We can spend more time being creative and delivering the best picture.

"When we were looking at grading systems we felt that FilmLight came with the reputation of being number one," Willis concluded. "Clients locally and internationally now see us as the place to finish big projects. Being located in Northern Ireland is not a barrier. When people see we have a Baselight system and what colourist Jim Agnew can do with it, they can see that anything is possible. Wherever your imagination can take you, Baselight goes with you on that journey."






Title graphic: Ka-boom ADR & Voice Over Room
Title graphic: Ka-boom ADR & Voice Over Room





Related Articles / Tutorials:
Color Grading
Western-style Color Grading

Western-style Color Grading

The Docu Series 24 Pictures A Second focuses on following and hearing from working professionals in the film, tv, and pro-video industry. In this episode, colorist Josh Bohoskey of The Mill walks through the color correction of a new, and stylistically specific, narrative piece with Framework Productions.

Tutorial
Adorama TV
Color Grading
Grading The LEGO Batman Movie: Animal Logic and FilmLight

Grading The LEGO Batman Movie: Animal Logic and FilmLight

Following successful collaborations on The Matrix, Legends of the Guardians, and Happy Feet, Sydney's Animal Logic worked with Warner Bros on The LEGO Movie from pitch to proof of concept to post. Animal Logic has gone even further on the latest LEGO animated feature, The LEGO Batman Movie, where they were embedded with the production for over a year. The range of their work pushed every aspect of the Baselight system for editorial, VFX, and HDR not just for post, but for the entire production process.

Feature
COW News
Color Grading
Colour Grading The BBC's Jonathan Strange & Mr Norrell

Colour Grading The BBC's Jonathan Strange & Mr Norrell

Jonathan Strange & Mr Norrell is a seven-part adaptation of Susanna Clarke's novel set in the Napoleonic Wars, and says Technicolor Montreal's Head Colourist Nico Ilies, a beautifully crafted period fantasy drama with outstanding acting, great cinematography and art direction, beautiful costumes and amazing VFX work -- an absolutely ideal colorist's playground. Working in Baselight, Nico took pictures in a variety of directions for this unusually diverse tale.

Feature, People / Interview
Nico Ilies
Recent Articles / Tutorials:
Adobe After Effects
Compositing Secrets Everyone Can Use, Pt 5: Brightness

Compositing Secrets Everyone Can Use, Pt 5: Brightness

The first challenge to understanding the nature of brightness in compositing starts with remembering that we're not actually seeing color at all, but rather something of an illusion that appears to us as color! Join longtime VFX artist, editor, software developer, and business owner Simon Ubsdell for Part 5 of the best look behind the technology of compositing that you've ever seen, as he takes a look at the math behind brightness, and how to apply that to the compositing toolsets in your favorite editing, compositing, and color grading applications.


Simon Ubsdell
Art of the Edit
Editing Eye of the Beholder: The Art of Dungeons & Dragons

Editing Eye of the Beholder: The Art of Dungeons & Dragons

Kelley Slagle began her career in entertainment as an actor, so it’s not surprising the communal storytelling of Dungeons and Dragons caught her eye. She both edited and co-directed the prizewinning documentary "The Eye of the Beholder: The Art of Dungeons & Dragons", speaking to overe 40 artists across the 45-year span of the game's history. Creative COW Managing Editor Kylee Peña spoke to Kelley about the challenge of managing that much material into a 90-minute film, balancing indie filmmaking with the demands of a day job in video production, and the power of art to sustain a community.

Feature, People / Interview
Kylee Peña
Apple Motion
Apple Motion 5: Building A Music Visualizer

Apple Motion 5: Building A Music Visualizer

Here's an especially fun one from longtime VFX artist, editor, software developer, and business owner Simon Ubsdell, showing how to build and animate a music visualizer in Apple Motion 5. As usual, you can count on Simon to go beyond the basics of simple construction to dive deep into the nuances of controlling this deceptively powerful application, highlighting such features as the Replicator, animation rigs, audio behaviors, glows, glints, lens flares, masking, filters and more. Turn it up!

Tutorial
Simon Ubsdell
Audio Professionals
Dialogue Cleanup Plug-ins for Video Production

Dialogue Cleanup Plug-ins for Video Production

Sometimes you really DO need to fix it in post. Longtime audio engineer Keith Alexander looks at some of the plug-ins available for video hosts including Adobe Premiere Pro and Apple Final Cut Pro X, as well as leading audio applications such as Audition, Pro Tools, and Nuendo, that will make a huge difference for video producers who need to clean up dialogue recorded with less than ideal results. There's something here for every skill level and every budget.

Tutorial
Adorama TV
Blackmagic Design Fusion
Blackmagic Fusion: Frequency Separation Retouching

Blackmagic Fusion: Frequency Separation Retouching

Blackmagic Fusion offers a variety of powerful retouching tools (as does DaVinci Resolve of course), so why would you want to build your own? As longtime VFX artist, editor, software developer, and business owner Simon Ubsdell explains, once you understand the underlying principles of the tools, you can use them better! In this tutorial, he shows how building a custom 3D keyer and a custom Linear Light Blend Mode allows a Low Frequency pass to smooth imperfections in the footage, and a High Frequency Pass to restore detail, allowing exceptional control, and producing outstanding results.

Tutorial
Simon Ubsdell
Adobe Audition
Adobe Audition: Shorten A Music Track with Remix

Adobe Audition: Shorten A Music Track with Remix

Ready to have your mind blown? See how easy it is to create remixes of music files using Adobe Sensei’s machine learning. You can take a song that has a longer duration than needed for your Premiere Pro project, and using Dynamic Link, send your entire sequence to Audition to create a shorter version, as well as emphasizing different musical elements in the original mix to create something unique, simply, in a highly customizable way.

Tutorial
Adobe Creative Cloud
Cinematography
Small HD FOCUS 7 4K Monitor Hands On

Small HD FOCUS 7 4K Monitor Hands On

Here's a first look at the SmallHD FOCUS 7, a 7-inch, 4K monitor that packs significant production value in a moderate price. The monitor includes Small HD’s OS3 software, which gives users access to features such as pinch-to-zoom, waveform monitors, focus pulling, 3D LUTs, and more, in a build that's lightweight, durable, and retains mobility.

Tutorial
Adorama TV
MORE
© 2019 CreativeCOW.net All Rights Reserved
[TOP]