Fri Jun 07, 2024 5:53 pm
Blackmagic Design today announced that Supervising Colorist Jeff Sousa of Brooklyn, NY based post studio Dungeon Beach used DaVinci Resolve Studio for color grading “The Faceless Lady,” Meta’s first live action VR television series. With Los Angeles based post house Light Sail VR hosting the project, Sousa relied on Blackmagic Cloud to collaborate with the Light Sail VR team while grading six 22 minute episodes of 8K stereo content.
In the series, available in Meta Horizon Worlds, six contestants converge on an old Irish castle to compete in a series of games, with the winner inheriting the estate. However, they soon find themselves trapped on the grounds by a vengeful ghost, the Faceless Lady, and must unravel a centuries old mystery before they end up becoming the next permanent tenants.
“During the grade, I wore a Meta Quest 3 headset and monitored in its native P3-D65 gamma 2.2 color space, often driving live sessions where the director, DP, and producers also watched in their own Quest headsets,” explained Sousa. “We wanted the show to have a creepy undertone without being too ‘looky.’ We added blue/green into the shadows using the primaries but with the node set to HDR mode to take advantage of the extended range for even more tonal separation. The gain was rolled warm, and the gamma pushed until skin tones sat back on the skin tone line. From there, we used the channel mixer luma keyed to the mid tones to skew the skin towards yellow.”
For more information, please visit: https://www.blackmagicdesign.com/media/ ... 0240606-01
In the series, available in Meta Horizon Worlds, six contestants converge on an old Irish castle to compete in a series of games, with the winner inheriting the estate. However, they soon find themselves trapped on the grounds by a vengeful ghost, the Faceless Lady, and must unravel a centuries old mystery before they end up becoming the next permanent tenants.
“During the grade, I wore a Meta Quest 3 headset and monitored in its native P3-D65 gamma 2.2 color space, often driving live sessions where the director, DP, and producers also watched in their own Quest headsets,” explained Sousa. “We wanted the show to have a creepy undertone without being too ‘looky.’ We added blue/green into the shadows using the primaries but with the node set to HDR mode to take advantage of the extended range for even more tonal separation. The gain was rolled warm, and the gamma pushed until skin tones sat back on the skin tone line. From there, we used the channel mixer luma keyed to the mid tones to skew the skin towards yellow.”
For more information, please visit: https://www.blackmagicdesign.com/media/ ... 0240606-01