Sophisticated Post Systems Able to Fundamentally Change Camera's Basic Capture

Garrow's Law 2 used Nucoda's Film Master to fundamentally changed the RED raw filesPinewood-based UK post production facility Narduzzo Too has used Nucoda Film Master to grade and finish the new series of BBC One’s eighteenth century legal drama Garrow’s Law. The 4x60 minute series, which recently aired on BBC One and BBC HD, was shot on RED in 4K.

 The final Avid edit was delivered by post production outfit Outpost, also based at Pinewood. “The ability to auto conform the media directly from the Avid edit into the Nucoda Film Master with a tight deadline was crucial to delivering this project”, explains Nigel Gourley, MD, Outpost Facilities. Vince Narduzzo, one of Europe’s leading colourists and Owner of Narduzzo Too, was then able to access and grade the native RED RAW files. By utilising this fully-integrated DI workflow every single detail captured at acquisition can be adjusted throughout the post production process safeguarding the creative vision of the DoP Gavin Struthers.

 This second series of Garrow’s Law, a new project for Struthers, has a slightly different look and feel to the first series with greater emphasis on subtle period colour. Struthers says, “The first series had a very black and white quality. In this series we wanted to inject some basic colour to add more vigour to the costumes and to separate the artists from the backgrounds.”

 Narduzzo adds, “At times we knocked the overall density down from the original material. Because we are working with the native RED 4K files we could go in, select the shot and drop the ASA on the camera, which was amazing. The Nucoda Film Master has a feature-rich toolset. The tracking tool during this project was particularly useful.”

 Struthers agrees, “In the first episode, we shot an Old Bailey scene that takes place over two days and on the second day it’s raining. The auto tracking tool allowed us to follow specific areas such as candles and gave us the full flexibility to access the original base layers. It’s a tool that works well and works quickly, and when you are working to tight deadlines these are the tools that you need.”

Posted on January 4, 2011 and filed under cinematography, colour correction, post.