LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

Grading Frankenweenie at Company 3

COW Library : DaVinci Resolve : Debra Kaufman : Grading Frankenweenie at Company 3
CreativeCOW presents Grading Frankenweenie at Company 3 -- DaVinci Resolve Feature


CreativeCOW.net. All rights reserved.


For Company 3 colorist Rob Pizzey, who worked with Burton before on Sweeney Todd, it was a thrill to work again with this innovative director on Frankenweenie, a stop-motion animated, B&W 3D story of a boy who brings his beloved dog back from death. "Working with Tim Burton is great," says Pizzey, who did the "color bible" for Sweeney Todd, helping to set looks, started the grade (before it went to Company 3 in Los Angeles) and then finished it. "He's really one of the best, a genius."

Burton and cinematographer Peter Zorg came in to Company 3's London facilities in Summer 2010. "We did some test images," explains Pizzey. "Peter came in first and we set some looks, and then Tim came in and explained more what he liked: quite contrasty, trying to make the characters stand out. Bearing in mind that it's B&W, so there's not a lot of color separation. We worked with many shades of gray to get that separation."


"FRANKENWEENIE"   Victor checks to make sure his worse-for-wear but beloved dog Sparky is in his rightful place under the bed  in "Frankenweenie," a new stop-motion, animated comedy from the creative genius of director Tim Burton.  Presented by Walt Disney Pictures, "Frankenweenie" opens in theaters on October 5, 2012.  ©2011 Disney Enterprises. All Rights Reserved.
"FRANKENWEENIE" Victor checks to make sure his worse-for-wear but beloved dog Sparky is in his rightful place under the bed in "Frankenweenie," a new stop-motion, animated comedy from the creative genius of director Tim Burton.


Pizzey reports that every six to eight months, the Frankenweenie creative team came in with a couple of shots to test. "We'd spend a couple of days looking at it and trying different film-out tests," he said.


"FRANKENWEENIE"   (Pictured) EDGAR. .."Frankenweenie" is a new stop-motion, animated comedy from the creative genius of director Tim Burton.  Presented by Walt Disney Pictures, "Frankenweenie" opens in theaters on October 5, 2012.  ..©2012 Disney Enterprises. All Rights Reserved."FRANKENWEENIE"   (Pictured) BOB-S MOM. .."Frankenweenie" is a new stop-motion, animated comedy from the creative genius of director Tim Burton.  Presented by Walt Disney Pictures, "Frankenweenie" opens in theaters on October 5, 2012.  ..©2012 Disney Enterprises. All Rights Reserved.
Left, Edgar, a lively character in Disney's Frankenweenie. Right, Bob's Mom recoiling in horror.

"Frankenweenie"   (L-R) PERSEPHONE, EDGAR "E" GORE, ELSA VAN HELSING and WERE-RAT.  ©2012 Disney Enterprises, Inc. All Rights Reserved.
(L-R) PERSEPHONE, EDGAR "E" GORE, ELSA VAN HELSING and WERE-RAT.


Frankenweenie came in for its full-on Digital Intermediate in early summer this year. Pizzey notes the complexities of creating separation with B&W images. "You emphasize shades of gray," he said. "Night scenes are tricky because everything is a lot darker, and you have to spend a bit more time to try to pull out the highlights more to get the contrast going. At the same time, you can't push it too far."


"Frankenweenie"  Finished film frame of the roof of the Frankenstein house. ©2012 Disney Enterprises, Inc. All Rights Reserved.
Finished film frame of the roof of the Frankenstein house.


"FRANKENWEENIE"   (Pictured) EDGAR. .."Frankenweenie" is a new stop-motion, animated comedy from the creative genius of director Tim Burton.  Presented by Walt Disney Pictures, "Frankenweenie" opens in theaters on October 5, 2012.  ..©2012 Disney Enterprises. All Rights Reserved.
Victor summons life back to his beloved pet in Frankenweenie.


Working with DaVinci Resolve made Pizzey's task easier and more seamless. "We had to draw a lot of intricate shapes to pull out the characters for different scenes, and Resolve's auto-tracking function was just outstanding and saved me a lot of time," he says Pizzey, who reports he's been using DaVinci to grade since the first feature he did in 2004. "I did have to hand-animate a few things, but auto-track is a pretty cool function."

A couple of weeks before Pizzey started the Frankenweenie grade, Burton had dropped in and the two graded a couple of shots. "He didn't want the film to look too dark," reports Pizzey. "He wanted it dark but punchy. So I picked a few shots to show him what I was doing and he really liked it. Going forward, I used those as a reference."



Sparky - the beloved dog.



... and Persephone.


Starting the grade two weeks after that collaborative session, Pizzey worked unattended for two weeks until the editor Chris Lebenzon came in to look at his first pass on the film. "Chris and Tim work very closely together, and Chris knows exactly what Tim wants," says Pizzey. "So I spent a couple of days with Chris, tweaking some scenes. When Chris was happy, we brought Tim in and he signed off on the 2D version."

With the 2D version done, Pizzey took the 3D timelines and copied the grading information to the 3D. "There's a big difference in 3D," he says. "If you display the 2D grade in 3D, it's very, very dark. So I went through the whole film again. First I did a global change and then went over it again, scene by scene."

Pizzey reports that, although it sounds challenging, the 3D version ended up being a simpler task than one might expect. "Resolve has all the tools you need for stereo grading," he says. "You grade the left eye and then copy it over to the right and converge it. The hardest thing was to not push it too far or we'd get into strobing artifacts. We found the right level fairly easily. Mostly it was straightforward partly because of the previous relationship working with Tim."


"FRANKENWEENIE"   (L-R) VICTOR and SPARKY. .."Frankenweenie" is a new stop-motion, animated comedy from the creative genius of director Tim Burton.  Presented by Walt Disney Pictures, "Frankenweenie" opens in theaters on October 5, 2012.  ..©2012 Disney Enterprises. All Rights Reserved.
Victor and Sparky.


Pizzey also spent time creating the LUT for the film-out, for a final delivery of color negative to color print for the B&W. "As you can imagine, it was really difficult to get it to look great, but the technical team at Company 3 nailed it and the prints look stunning."

Pizzey is happy with the results. "It's really a great film," he says. "It's a film for all ages, and Tim Burton at his best."

I'm also looking forward to seeing the film. I love the mix of B&W with 3D, and look forward to seeing how the color palette -- or perhaps more accurately, the colorless palette -- works with 3D's emphasis on z space. That's not to say that I'm also looking forward to seeing another Burton oeuvre, one that promises to mix darkness and whimsy, humor and heart.



Rob Pizzey






Special consideration to Disney Enterprises, Inc. for images. ©2012 Disney Enterprises, Inc. All Rights Reserved. Presented by Walt Disney Pictures, "Frankenweenie" opens in theaters on October 5, 2012.

Title image: from "Frankenweenie" (L-R) SPARKY and VICTOR. ©2012 Disney Enterprises, Inc. All Rights Reserved.



Related Articles / Tutorials:
Cinematography
Where Digital Meets Stop-Motion in ParaNorman

Where Digital Meets Stop-Motion in ParaNorman

The stereo 3D stop-motion animated feature ParaNorman from Laika puts the emphasis on handcrafted puppets and details. But digital plays an important, behind-the-scenes role, not just in painting out rigs but in creating ghosts, dramatic, witch-filled skies, crowds and set extensions. Laika's visual effects supervisor Brian Van't Hul, compositing supervisor Steve Emerson and CG/look dev supervisor Andrew Nawrot talk about the creation and integration of the digital with the real in ParaNorman. (Potential minor spoilers in the article)

Editorial
Debra Kaufman
DaVinci Resolve
Day Three: Editing on DaVinci Resolve 12.5

Day Three: Editing on DaVinci Resolve 12.5

It's Day Three of Walter Biscardi's REAL WORLD editing on DaVinci Resolve 12.5 and this is going to be the longest blog yet as I want to show you guys a lot of the "little things" that are making editing in Resolve a pleasure. I know there are a lot of questions still out there whether this is really a professional editor. For me it's the small things that separate the applications making life efficient and fun for the the editor.

Editorial, Feature
Walter Biscardi
DaVinci Resolve
Day Two: Editing on DaVinci Resolve 12.5

Day Two: Editing on DaVinci Resolve 12.5

Somebody asked Walter Biscardi, "why does editing in Resolve interest you?" Well, he states, it is my color grading tool of choice. It's completely free, and by the way, I'm cutting this project using the free version of Resolve. My Studio version sits on another machine. And having all of that extra real estate on the second monitor is a huge bonus.

Editorial, Feature
Walter Biscardi
DaVinci Resolve
Day One: Editing on DaVinci Resolve 12.5

Day One: Editing on DaVinci Resolve 12.5

Blackmagic Design recently took the wraps off DaVinci Resolve 12.5. Walter Biscardi has been predicting for over a year that Blackmagic would answer many of the questions plaguing editors, and that this would be the year this tool became a full fledged non-linear editing system -- sure enough, it's now a solid editing platform.

Feature
Walter Biscardi
DaVinci Resolve
Exodus: Gods and Kings -- Grading Ridley Scott's 3D Epic

Exodus: Gods and Kings -- Grading Ridley Scott's 3D Epic

Director Ridley Scott's latest epic 'Exodus: Gods and Kings' takes a gritty approach to a biblical story, and colorist Stephen Nakamura helped expand the realistic look by working closely with Scott and DP Dariusz Wolski ASC, and by grading the film in DaVinci Resolve 11 using new tools to help push the 3D grade while preserving highlights.

Editorial, Feature, People / Interview
Kylee Peña
DaVinci Resolve
Blackmagic DaVinci Goes up to 11

Blackmagic DaVinci Goes up to 11

Colorist Joseph Owens has been in the heart of postproduction for over 30 years, and has used one form or another of DaVinci Resolve for a large part of that. In his look at the latest release of what he calls the gold standard for color correction, he both covers new features, and considers the possibilities that those features offer.

Review, Editorial, Feature, People / Interview
Joseph Owens
DaVinci Resolve
The Many Colors of A Modern Family

The Many Colors of A Modern Family

Sometimes it might seem that colorists are all about stylized treatments and extreme color correction, but Aidan Stanford's work on season five of Modern Family is all about maintaining realism and hiding all the tricks in the background. Making the jump from film color timing into digital hasn't been easy, but Aidan has found a way to utilize his film skills in the digital world, turning around episodes in a day using his favorite tools in DaVinci Resolve.

Editorial, Feature, People / Interview
Kylee Peña
DaVinci Resolve
Taking a Bite out of Cookie Monster with Resolve 9

Taking a Bite out of Cookie Monster with Resolve 9

When directors Josh and Jason Diamond called Juan Salvo to color and finish “Share it Maybe,” the music video spoof of the pop hit “Call Me Maybe,” Juan knew he had the perfect tool for the job. As part of the private beta for Blackmagic Design’s Resolve 9, he was able to turn the Cookie Monster into the perfect shade of blue and tackle other challenges, with the lightning speed turnaround that the viral video required.

Feature
Juan Salvo
DaVinci Resolve
Company 3's DI artist Stephen Nakamura on Prometheus

Company 3's DI artist Stephen Nakamura on Prometheus

Stephen Nakamura, one of a handful of artists who helped to pioneer DI color grading, shares his experience on creating the look for Prometheus as envisioned by director Ridley Scott.

Feature
Stephen Nakamura
DaVinci
DaVinci Resolve 8.2 for Microsoft Windows Enters Public Beta

DaVinci Resolve 8.2 for Microsoft Windows Enters Public Beta

Microsoft Windows-based creative shops can now take advantage of DaVinci Resolve 8.2, via a public beta now available for download from Blackmagic Design, and is available both in the full-featured DaVinci Resolve 8.2 and free DaVinci Resolve Lite versions.

Feature
Debra Kaufman
MORE
© 2016 CreativeCOW.net All Rights Reserved
[TOP]