This helped the VFX team, who received a colour package containing the matching LUT and CDL. To transition the looks crafted on set through to post-production, the DIT passed camera details to the Picture Shop front-end services team, who processed the dailies and uploaded the LUT and colour decision list (CDL) information.

It covers setting up a render layer and ap. He also digitally recreated Petra Korner’s glass filtration ideas to tint the ‘suburbs of the dead’ and enhanced the warm lantern light in David Johnson’s rendition of the ‘land of the dead’. This tutorial shows you how to set up a render layer in Maya to render out an ambient occlusion pass using Arnold.

Each cinematographer had the opportunity to create their own twist on the show LUT. For Gary Shaw, Chynoweth softened the contrast to cover the wide scenario of set-ups. Picture Shop worked with producer Stephen Haren in pre-production and adopted an ACES workflow to create a unified, tracked colour pipeline for all the on-set looks, and for dailies, VFX and the final grade.Ĭolourist Sam Chynoweth graded the series using FilmLight’s Baselight. His Dark Materials travels back and forth through new and familiar worlds, each with a distinct look.

POST-PRODUCTION Picture Shop & Formosa Group

Render with arnold maya