Murder on the Orient Express with DaVinci Resolve Studio
Blackmagic Design announced that DaVinci Resolve Studio was used to manage color grading, including unedited footage and final color grading, on Kenneth Branagh’s adaptation of Agatha Christie’s classic film, Murder on the Orient Express.
The DI workflow (Digital Intermediate Workflow)) was designed and delivered by Goldcrest Post London, in collaboration with Digital Orchard. Director of Photography (DP) Haris Zambarloukos worked with Goldcrest to develop methods for the color rendering of the film and LUTs, which were then integrated into the workflow.
“We ended up with a LUT that would give us an authentic look to the film,” said Rob Pizzey of Goldcrast Post. “A warm white spot really helped preserve the original color and contrast from the scanned film negative image.”
Sam Spurgeon was the Digital Orchard illustrator responsible for the film’s unedited footage. “We worked closely with Goldcrest to create show LUTs that served as the basis for the color of the footage,” he reveals. “Using the DCI-P3 version, we graded the footage on a calibrated DCI-compliant projector, and then the media was printed using the Rec709 version of the same LUT.”
Blackmagic Design DaVinci Resolve Studio
Sam continues: “We had scanned the 65mm film into 2K 10-bit DPK sequences ranging between 100GB and 300GB per roll, with 10 to 20 lab rolls per day. It was then graded and encoded using Blackmagic Design DaVinci Resolve Studio.
Image analysis for quality control was also an integral part of the workflow. “Some footage in the film is presented in specific color channels. Being able to isolate those channels in DaVinci Resolve Studio to render them in black and white was very important.”
Sam concludes: “Blackmagic Design provides an excellent suite of tools for editing cinematic footage in Hollywood productions for workflows and advanced color work. DaVinci Resolve Studio has been the backbone of our workflow since 2011 and its extensive feature set has proven to make the most of both digital and film workflows.”
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