Finding the Perfect Finish for 'Furiosa: A Mad Max Saga' 

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Thanks to Digital Media World for this coverage of Colourist Eric Whipp working remotely with his team between LA, Toronto and Sydney to build the looks on Baselight that tell the story of the new Mad Max film, Furiosa, in ACES! Screenshot “George likes the term ‘rolling DI’, implying a tight integration between departments…

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do we know by any chance what

As we graded this film in ACES,

means in that context ? Because we can also read the following :

He used the new Chromogen tool in Baselight 6.0 to support look development, saying that he had moved into Baselight 6.0 specifically to work with Chromogen,” said Eric. “I knew I needed rich-coloured sand and deep-blue skies in a lot of cases, so I made look strips in Chromogen that pushed the sand colour in a richer direction and deepened blue skies by twisting toward a nice cyan-blue colour. In some scenes we needed the greenery to pop, so I created look strips to open up the greens.”

It would be awesome to know a bit more in detail what workflow was followed. Maybe @daniele knows ?

Thanks !

Those two statements aren’t contradictory. Chromogen is a scene-referred look tool which is not tied to any particular working space or DRT.


Baselight also supports ACES, so indeed not mutually exclusive, quite the opposite.

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Yes, totally.

But graded this film in ACES can mean several things ? This is where I would like to know more.

Is it using AP0 as the plate format? Using ACEScct as the grading space? Using the ACES “View Transform”?