Issue link: https://digital.copcomm.com/i/1527843
"lens distortion" around the edges of the frame, anamorphic style ‚ares for whenever there were light sources in the shot, and then in- troduced the speci‹c lavender look to all the foliage, which was shot in its natural green„form. "Just keying all the greens and making them lavender color would have made everything look very one dimensional," he„explains. In‚uenced by the look of color infrared photography, Ferstl pitched the idea of creating a„look inspired by the e‰ect of the photographic method: "Rather than just adding a„wash of lavender, we also creat- ed an e‰ect that made the greens less saturated as they got brighter, and then that e‰ect translated when we pushed the green into the lavender look. Other times in the series, the story called for a„some- what di‰erent look for the Spirit World, and because everything was built inside Resolve, we could adapt the contrast and reduce the sat- uration on top of the previous„e‰ects." "we designed elements of the spirit world based, to a great extent, on the look of the animated show... " In addition, there was a„ large slate of shots for which VFX com- panies created CG lighting e‰ects which were then handed over to Ferstl and DeLegal to integrate those e‰ects with the people and objects in the shots. The„e‰ects of an explosion or a„sudden ‚ash of light would then interact with a„character's face, clothing or with the environment in„general. „Here again, Ferstl combined traditional color tools with the most sophisticated new tools within DaVinci Resolve Studio for isolating, shaping and re‹ning every lighting element in each frame to help sell the e‰ect and help the ‹lmmakers realize the fantastic, unique look of the„series. The "air bending" phenomenon of the title involves, among other e‰ects, a„customized camera shake e‰ect with some distortion that takes place during ‹re‹ghts as CG ‹re passes by. DeLegal recalls that Raisani and Spates brought the custom shake work to him and Ferstl rather than to a„VFX vendor. DeLegal, who creates most of his VFX work in DaVInci Resolve Studio's Fusion page, explains, "They really liked that we could hand ‹nesse the e‰ect in each shot and then make any adjustments they requested almost in real„time." In fact, this is one of the major reasons why VFX supervisors like Raisani and Spates have, since their experience on Lost in Space, brought more and more of this type of work to Ferstl and his Compa- ny 3 team. "We„can do all this work in the grading process, and when we do, we can also control and re‹ne everything in collaboration with them and without having to send every iteration out to another ven- dor and wait days for the results," Ferstl„explains. ¢ A custom ‹lm emulation LUT added more of a photochemical feel. J U LY • A U G U S T • S E P T E M B E R 2 0 2 4 C G W 7