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BITS & PIECES www.postmagazine.com 8 POST AUGUST 2016 GOLDCREST POSTS JASON BOURNE USING DAVINCI RESOLVE STUDIO MANCHESTER, UK — Goldcrest Post London recently relied on Blackmagic Design's (www.blackmagicdesign.com) DaVinci Resolve Studio to complete the edit, color grade and HDR fi nishing for Universal Pictures' Jason Bourne, in which Matt Damon returns as the fi lm's lead. For the feature, the Goldcrest team provided full post production services for director Paul Greengrass, with Sinéad Cronin and Rob Pizzey, respectively, deliv- ering the online edit and grade. "Working on the project together in DaVinci Resolve Studio allowed us a great deal of fl uidity, and we were able to collaborate close- ly throughout," reveals Cronin. "I could conform and work on the online edit in Resolve's media and edit pages, whilst Rob could render a grade on the color page at the same time." Cronin explains that the DaVinci Resolve Studio workfl ow was critical. "There's so many action-packed scenes, with extended chase sequences and set pieces, so the scale of post production was huge; for example, one of the reels had more than 1,000 cuts. Timescales were tight, and I would work on a section of the online edit, knowing that Rob would be in the theater ready to grade with the client. Everything we did in Resolve was in realtime, which really helped us to work to a tight deadline." Having previously collaborated with Greengrass and cinematographer Barry Ackroyd on a number of fi lms, colorist Pizzey already had an extensive under- standing of how the team wanted to use the grade to enhance the action. "In Jason Bourne, there are sequences in Las Vegas, Athens and Berlin, and an import- ant part of the grade was to diff erentiate the mood and feel between these loca- tions…but to ensure the overall aesthetic of the series remained in evidence," Pizzey explains. "Barry and I worked during prepro- duction to produce templates in Resolve from test footage, which would then act as a base for Barry to check his lighting on-set, and for processing the rushes," says Pizzey. "Deploying Resolve at the preproduction stage meant that when we came back together to do the fi nal grade, the sessions were extremely smooth and productive." The grade was also used to enhance the fi lm's editing, particularly in action sequenc- es. "One of my favorite sequences in the fi lm to grade takes place in Athens, which was shot entirely at night," says Pizzey. "As the action is on the streets, which are fi lled with layers of smoke, and a fi re unfolds, the edit intercuts scenes from a CIA control room. I kept the CIA room very cool and clinical, with a blue palette to diff erenti- ate from the warm, realistic riot scenes. Using Resolve's grading toolset with some shape work, I was able to refl ect some of the warmer tones from the screens in the control room back onto the actors' faces. It was a very subtle, but extremely eff ective contrast within a key sequence." The Goldcrest team worked in full 4K and deployed Resolve Studio's new high dynamic range capabilities to deliver the fi lm in HDR. "HDR isn't just a new delivery format, it's a fantastic creative playground for production teams to deliver a com- pletely new experience to audiences," says Pizzey. "These capabilities, combined with the NLE toolset and grading capa- bilities, make DaVinci Resolve a complete storytelling device." Director Paul Greengrass on-set with Matt Damon. Goldcrest took advantage of Resolve Studio's new features to deliver Jason Bourne in HDR.