DaVinci Resolve 10 Used for Advanced Color on Hollywood Blockbuster “Need for Speed”

DaVinci Resolve 10 Used for Advanced Color on Hollywood Blockbuster “Need for Speed”
DaVinci Resolve 10 Used for Advanced Color on Hollywood Blockbuster “Need for Speed”
Fremont, CA – March 24, 2014 – Blackmagic Design today announced that DaVinci Resolve 10 was used by freelance colorist Mark Todd Osborne for advanced color on the Hollywood film “Need for Speed.” Osborne worked at LA based production and post company Bandito Brothers’ state of the art facility on the 2K DI color for various screenings and previews.

“There was a team aspect that went into the post process for this film that enabled us to start work on color much earlier than the norm, which also allowed the color to evolve with the cut over time,” said Mark Graziano, Executive Vice President of Post Production at DreamWorks Studios. “In addition, this collaborative workflow afforded us the luxury of having screenings at a higher resolution with a more refined picture.

“Mark put us in a really fantastic place early on in the post process as far as 2K DI color,” he continued. “The workflow at Bandito Brothers coupled with Mark’s color helped us put our best foot forward for important screenings very early on, five to six months in advance of delivery. It also enabled us to take our time through the process of refining the picture, as opposed to the frantic pace at the end of the film that is typical.”

In addition, Bandito Brothers were able to provide 2K color corrected footage for 3D conversions. According to Graziano, very rarely does a stereo conversion provider receive color corrected files to use for its conversion process, and Osborne’s advanced color work made it much easier to address creative notes and made the overall 3D process smoother.

Based on the popular series of video games, “Need for Speed” is a high octane, action packed thrill ride that follows a street racer on a cross country race of revenge. Osborne was tasked with enhancing the film’s authentic look, while also creating a rich setting with high saturation and strong contrasts to help convey mood, tone and intensity. With numerous high energy race scenes and real life stunts, Osborne used DaVinci Resolve 10 to subtly heighten emotion and excitement, helping to draw the audience in through color.

“DP Shane Hurlbut introduced me to photographer Todd Hido, and we used his work as inspiration to achieve a natural look that still had an edge,” said Osborne. “We often had three or four different sources of greens, yellows and blues, so a mixture of warms and cools with different gradients across the frame, but still maintained a source of light. DaVinci Resolve’s Power Windows, custom curves, chroma keys and luminance keys helped me finesse these looks and enhance the qualities in Shane’s footage.”

Osborne noted that there were several major race scenes where color not only enhanced the intensity, but was also necessary for consistency. “The lighting alternated between sun and heavy clouds in one scene, and that change can distract the audience and take them out of the experience. I used Power Windows, keys and curves to maintain a consistent overcast look with cooler colors and a saturation pop for effect, which also helped convey a darker, more turbulent mood,” he explained.

Osborne added: “On the flip side, there was a big race sequence in the Red Rock Canyon desert, and the red rocks weren’t filming consistently. We wanted them warm and yellow to play up the heat and tension, but sometimes they looked cool and blue. On top of that, the scene is shot in and out of cars, between the rocks and then back in the cars. DaVinci Resolve’s tracker was a big help in delivering precise color in a snap.”

Osborne was also able to rely on DaVinci Resolve’s auto key frame tracker without having to extensively track and key frames manually. “Tracking made so much difference for me,” said Osborne. “DaVinci Resolve’s auto tracking got it right the first time. Some shots can move too fast for a system to handle, and you have to go in manually and fix them, but that rarely happened with DaVinci Resolve. It’s these things that add up and save on time.

“It’s also so user friendly that I don’t have to think about the technology and tools when I work. Instead, I can focus on crafting the image and stay in the creative process. There was a lot of meticulous color that went into this film, and it draws the audience in and helps tell the story,” he concluded.

“We don’t just have a dedicated DaVinci Resolve suite at our facility. Blackmagic Design makes up the backbone of our operations with a Videohub router, numerous DeckLink cards and HyperDeck Studio Pro SSD recorders. We were thrilled to have an artist like Mark showcase his creativity and sophistication in our color suite,” said Jacob Rosenberg, CTO and Director at Bandito Brothers. “Scott Waugh is not only the film’s director, but he’s also a co founder of Bandito and an editor on the film. So ‘Need for Speed’ was a really personal project, and we were all deeply invested. Mark came in and immediately invested himself 100 percent.”

Press Photography

Product photos of DaVinci Resolve, Videohub, DeckLink and HyperDeck Studio Pro are available at http://www.blackmagicdesign.com/press/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and film restoration software for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including stereoscopic 3D and 4K workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, United Kingdom, Japan, Singapore, and Australia. For more information, please check http://www.blackmagicdesign.com.

Toyota Camry “Thrill Ride” Campaign Colored at Bandito Brothers.

Recently colored this cool campaign for Saatchi & Saatchi LA with the good folks over at Bandito Brothers!

Toyota Camry SE – Toyota Camry Thrill Ride – (2013) :60 (USA) Read more at http://adland.tv/node/156083#DYMKk58hOY5Dsigq.99

Toyota Camry SE – Toyota Camry Thrill Ride – (2013) :60 (USA)

dabitch's picture
Posted by dabitch on 4. October 2013 – 13:57

A Toyota Camry. Not the most exciting automobile, is it? Well you’re wrong, at least that’s what I gather from this demonstration idea that turned a short drive in a Camry into a roller coaster type ride worthy of Magic Mountain. People are thrilled to be swooshing up, down, sideways and in – oh my – reverse. Looks like it was a fun ride with a “professional driver, do not attempt”, but better still are the genuinely squee-surprised reactions from people who did not expect this. Everybody say weee!

I can’t even tell you how much I love the woman who when she spots the tunnel they’re going to drive through, blurts out a “are you serious!? Everyone, duck! This stunt is crazy.

Agency: Saatchi & Saatchi LA
ECD: Chris Adams, Margaret Keene
CD: Ed miller
ACD writer: Evan Brown
Art Director: John Kritch
Producer: Richard Bendetti
Digital Producers: Amy Jo Deguzis, Julie Notaro, Alex Granieri
Production Company: Bandito Brothers
Managing Director/Executive Producer: Suzanne Hargrove
Director: Mike “Mouse” McCoy
Cinematography: Shane Hurlbut
Stunt drivers: Greg Tracy, Matt McBride, Rich Rutherford
Producer: Ryan Slavin
Chief Technology Officer & Director: Jacob Rosenberg
Editorial Production: Bandito Brothers
Editor: Jeff Tober
Editor: Tracy Hof
Colorist: Mark Osborne
Sound: Lime Studios
Mixer: Rohan Young







“The toughest color grading work isn’t getting the right tinge around an actor battling giant insects on a meteor hurtling to Mars look real, it’s the simple things, like making bacon and cheese look good on a burger.”

BurgerColorist Mark Todd Osborne had to color correct Big Boy’s recent television commercials. The Big Boy burger is as iconic as the logo of the actual Big Boy in red and white checkered pants. When people see a Big Boy television commercial, there is an expectation of seeing a perfect meal. But perfection cannot come at the price of looking unrealistic. So Mark had to walk a fine line.

Warming up the Eggs, Bacon and Burgers

“Clients in the food arena are so incredibly particular about every piece of food. It is not just about looking appetizing; the food has to also look beautiful and stunning. It is tough, exacting work, but once you have food on your reel, people know you can handle the tough assignments,” said Mark.

eggsWorking freelance for Lightborne Post out of Cincinnati, which handled the production and post production for the spots, Mark used Blackmagic Design’s DaVinci Resolve for all of the color correction. He was tasked with color correcting three national commercial spots for Big Boy, including 15 and 30 second spots for breakfast and a 30 second spot for dinner. This included color correcting images of the Big Boy double burger and all of its condiments, eggs, bacon and the kitchens they were being cooked in.

“I spent a lot of time on the eggs really highlighting them. It’s all about the food.  We don’t want the viewer focusing on the stainless steel knife or coffee cup. With Resolve’s tracker, I could easily track every part of the eggs and the items around them. With a couple of clicks, I got right to work on getting the color just right on the eggs,” explained Mark.

baconResolve’s powerful 3D tracker locks Power Windows to objects and reduces the need for extensive key generation. With this, Mark was able to track any object in a frame and create grades and effects around it. No matter how the eggs were moved during the spot, Resolve’s Power Window kept a tight lock around them.

“I threw a Power Window around the eggs and was able to focus on finding the right shading and lighting without having to worry about constantly recreating anything. Resolve allows my grades to follow the action, so I can focus on grading and not reinventing the grade with every new shot,” Mark said.

The Big Boy Burger

lettuceA Big Boy is a double patty burger on a sesame seed bun with all the fixings. Changing how it looks or using color correction to make it something other than what it is would not work. The problem was that no matter how amazing a burger is in real life, food is not uniform. No grill or fry pan cooks every single inch of a burger to exactly the same color. Plus the lights, heat and other factors a piece of food suffers by being on a commercial production set cannot be seen in the final TV product.

“With one burger, just a tiny piece of meat was slightly red. On a plate, it was perfect, but for a TV spot it had to be fixed. I used Resolve’s tracker to quickly brown up that one spot on the burger. The great thing is that I did this right in front of the head of the advertising agency, who had come in to approve the look of the spots. I am sure that when she suggested touching up that small brown spot, she thought she would not get to see her vision until the next day. With Resolve, I work in real time, and I made the change right in front of her,” Mark said.

Beyond the burger, Mark faced the real challenges of the Big Boy spot: the lettuce and bacon. “With the bacon, some of the slices looked a bit rare for television. In reality, they were fine, but in a food spot it has to be uniform. The client wanted a nice warm tone that looked pleasing on every part of the bacon. The challenge was doing that and keeping the look of crisp bacon intact.”

This had to be done while at the same time making the lettuce stand out. And both had to remain distinct from the sharp, clean metallic look of the kitchen. “I use Resolve to create extra flair for lighting around the food. With this spot, I created special lighting specifically around the lettuce. I drew Power Windows around each item and threw on a blur or other effect quickly. I then jumped in and started to fine tune the shots,” he continued. “Resolve’s blur tool was especially useful here, since I easily created a slight blur around the Power Windows and sharpened them up, while toning down the very strong stainless steel look around them. Using keyer, I was able to isolate certain colors in any point in the shot. With Resolve’s node structure, I reused and keyed those grades in with only a couple of clicks.”

With food shots, finesse and meeting tight deadlines are what is needed. And Resolve allowed Mark to get into the very fine areas quickly. It’s powerful and has a ton of little tricks that make it easy to focus on the art and not the technology.