Posting Rovers on DaVinci Resolve


Matt Brown TV-Bay Magazine
Read ezine online

Managing director at Core Post Matt Brown reveals how he used DaVinci Resolve's 3D tracker, key lighting, and color tools to complete the final grade for new Sky 1 football comedy drama series, "Rovers."

Set in the run down clubhouse of fictional non league team Redbridge Rovers FC, brand new Sky 1 football comedy "Rovers" reunites "The Royle Family" stars Craig Cash and Sue Johnston in a hilarious depiction of what life is like for the steadfast supporters of a small football club in England. With average attendances of just 27, it's a far cry from the glitz and glamour of the Premier League.

Delivering full post production for the comedy series, including completion of the final grade using DaVinci Resolve Studio, was Salford based post house, Core Post. "Our team have historical working connections with both director Craig Cash's Jellylegs Productions and producer Gill Isles, so we were very excited about the idea of working on a brand new comedy together," begins managing director and colorist at Core Post, Matt Brown.

He explains that he maintained a very close working relationship with both Cash and director of photography Daf Hobson from the very start, exploring the various looks that could be used to grade each episode.

"The overall idea was to create a naturalistic, daylight feel within the studio set, whilst maintaining and enhancing the key lit look that beautifully framed the characters," Brown reveals. "However, despite this prominent style of key lighting, adding some beautiful shape and style to the characters' look, it also lead to some darker areas in the frame, especially on the actors' faces where it would occasionally leave the fill side of the face looking a little dark."

"The key challenge we faced, as with all comedy drama, was to retain the detail in the actors' faces, while still achieving the desired look," he continues. "DaVinci Resolve was perfect for handling this. It's 3D tracker is outstanding, and when combined with DaVinci's subtlety at handling luminance lifts and graduation, it was more than capable of enhancing the fill areas whenever required. This allowed me to quickly and easily give the overall look a lift in the shadows to counteract the darker areas."

Another challenge that needed to be overcome to complete the final grade on "Rovers" was to correct the tendency for the characters' flesh tones to take on a magenta hue. "For this, I used DaVinci Resolve's secondary color control," tells Brown. "Quite often on 'Rovers' you would have shots where multiple characters were in the same frame, and for these we could again employ the tracker, this time combined with the hue corrector or color wheels to even the flesh look across the picture. Sat vs Lum was also employed throughout, so that the shadow areas were as clean as possible. Finally, subtle vignettes were applied throughout to frame the characters and add some intimacy."

"From when I first trained to use a DaVinci 2K system for drama post production, DaVinci Resolve has been invaluable in allowing me to enhance the creative look and vision from the director and cinematographer," Brown concludes. "The amazing tools within the latest version of Resolve massively helped with bringing 'Rovers' to life."


Tags: iss116 | blackmagic | davinci | resolve | rovers | grading | Matt Brown
Contributing Author Matt Brown

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

    Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

  • Blackmagic DaVinci Resolve 16 at NAB 2019

    Blackmagic DaVinci Resolve 16 at NAB 2019

  • Blackmagic Davinci Resolve 15 at NAB 2018

    Blackmagic Davinci Resolve 15 at NAB 2018

  • Blackmagic Design: Products at NAB 2013

    Blackmagic Design: Products at NAB 2013

  • Blackmagic Design at NAB 2012

    Blackmagic Design at NAB 2012

  • Blackmagic at IBC2011

    Blackmagic at IBC2011

  • Blackmagic Design Resolve 14, ATEM, URSA Mini PRo and more from IBC 2017

    Blackmagic Design Resolve 14, ATEM, URSA Mini PRo and more from IBC 2017

  • Blackmagic ATEM Constellation 8k at NAB 2019

    Blackmagic ATEM Constellation 8k at NAB 2019

  • Blackmagic introduces Blackmagic RAW (BRAW) at IBC 2018

    Blackmagic introduces Blackmagic RAW (BRAW) at IBC 2018

  • Blackmagic Design Pocket Cinema Camera BMPCC 4K at IBC 2018

    Blackmagic Design Pocket Cinema Camera BMPCC 4K at IBC 2018

  • Blackmagic Pocket Cinema Camera 4K at NAB 2018

    Blackmagic Pocket Cinema Camera 4K at NAB 2018

  • Blackmagic ATEM Television Studio Pro 4K at NAB 2018

    Blackmagic ATEM Television Studio Pro 4K at NAB 2018

  • Blackmagic Design Ultimatte at IBC 2017

    Blackmagic Design Ultimatte at IBC 2017

  • ATEM TV Studio Pro HD from Blackmagic Design at NAB 2017

    ATEM TV Studio Pro HD from Blackmagic Design at NAB 2017

  • Blackmagic Design at IBC 2016

    Blackmagic Design at IBC 2016

  • Blackmagic MultiView at IBC 2014

    Blackmagic MultiView at IBC 2014

  • Blackmagic and Fusion at IBC 2014

    Blackmagic and Fusion at IBC 2014

  • Blackmagic URSA at NAB 2014

    Blackmagic URSA at NAB 2014

  • Blackmagic Studio Camera at NAB 2014

    Blackmagic Studio Camera at NAB 2014

  • Cintel Film Scanner: Blackmagic Design at NAB 2014

    Cintel Film Scanner: Blackmagic Design at NAB 2014

  • Blackmagic Design on BroadcastShow LIVE at IBC 2013

    Blackmagic Design on BroadcastShow LIVE at IBC 2013

  • Blackmagic Design with the new ATEM Production Suite at IBC 2013

    Blackmagic Design with the new ATEM Production Suite at IBC 2013

  • Holdan and DaVinci at BVE North 2011

    Holdan and DaVinci at BVE North 2011

  • Den Lennie considers what kit and cameras to buy for 2015

    Den Lennie considers what kit and cameras to buy for 2015

  • BeSteady on the Production Gear stand at BVE 2014

    BeSteady on the Production Gear stand at BVE 2014

  • Hireacamera at BVE 2014

    Hireacamera at BVE 2014

  • The tv-bay Tour in Manchester June 2014

    The tv-bay Tour in Manchester June 2014

  • The tv-bay Tour in London June 2014

    The tv-bay Tour in London June 2014

  • Behind the scenes of the Teradek booth on BroadcastShow LIVE at IBC 2013

    Behind the scenes of the Teradek booth on BroadcastShow LIVE at IBC 2013

  • Holdan on BroadcastShow Tour May 2013

    Holdan on BroadcastShow Tour May 2013

  • Official TOUR Video 2013

    Official TOUR Video 2013

  • Autodesk at NAB 2013

    Autodesk at NAB 2013

  • Featured Clip: Geoff Boyle comments on NAB 2012

    Featured Clip: Geoff Boyle comments on NAB 2012

  • AMD at IBC2011

    AMD at IBC2011

  • Mac Mini support from Sonnet Technologies at NAB 2019

    Mac Mini support from Sonnet Technologies at NAB 2019

  • GPU acceleration from Sonnet Technologies with Adobe support at NAB 2019

    GPU acceleration from Sonnet Technologies with Adobe support at NAB 2019

  • Polecam Antelope Pico at IBC 2014

    Polecam Antelope Pico at IBC 2014

  • Polecam Toshiba Minicams at BVE 2014

    Polecam Toshiba Minicams at BVE 2014

  • Polecam Slow Motion Minicams at BVE 2014

    Polecam Slow Motion Minicams at BVE 2014

  • Polecams range of accessories and minicams at IBC 2013

    Polecams range of accessories and minicams at IBC 2013

  • Polecam: Z10 zoom lens at NAB 2013

    Polecam: Z10 zoom lens at NAB 2013

  • Polecam at BVE 2013

    Polecam at BVE 2013

  • Digital Vision on BroadcastShow LIVE at IBC 2013

    Digital Vision on BroadcastShow LIVE at IBC 2013

  • Cintel at IBC2011

    Cintel at IBC2011

  • Image Systems at IBC2011

    Image Systems at IBC2011


Related Shows
  • BroadcastShow Christmas Special

    BroadcastShow Christmas Special


Articles
Remote Teams and Talent
Megan Cater If your studio works with non-local creative talent, you already know that there are opportunities and challenges associated with distributed production and post production. Bridging the distance not only allows you to find the best talent for the job anywhere in the world, it creates the potential for a diverse and globally-minded workforce that boosts the creativity and vision of your entire company.
Tags: iss136 | signiant | file acceleration | ftp | dropbox | sharepoint | slack | saas | media shuttle | Megan Cater
Contributing Author Megan Cater Click to read or download PDF
Streaming - Shut up and Sit Down
Matt Lees Twilight Imperium is a board game all about strategy and backstabbing. Known for its length of gameplay, the team behind Shut Up and Sit Down decided to deliver a mammoth 10-hour live broadcast, streamed to Twitch. Matt Lees is here to tell us how it went down.
Tags: iss136 | streaming | blackmagic | atem | 4k | canon c100 | sony pxw-z90 | Matt Lees
Contributing Author Matt Lees Click to read or download PDF
The way forward in a changing world
Alan Wheable The broadcast and media industries are evolving in all areas to adapt to the challenges of competition from OTT, changing user viewing habits, technological advances in image resolution, dynamic range and colour rendition as well as embracing new video over IP infrastructures.
Tags: iss136 | omnitek | aims | ip | smpte | 2110 | 4k qc | ultra xr | nmos | ultra tq | Alan Wheable
Contributing Author Alan Wheable Click to read or download PDF
Living LIVE at BVE with Ross Video
Jon Pratchett KitPlus’ Jon Pratchett chats to Stuart Russell, Ross Video, in the BVE studio. Covering customer partnerships and loyalty, pain points, growth, industry trends, pace of IP adoption, 12g SDI technologies, UHD / HDR, 8k, AI and we try to get a hint of new products on the horizon...
Tags: iss136 | ross video | 12g sdi | uhd | hdr | ip | bve 2019 | bvexpo | Jon Pratchett
Contributing Author Jon Pratchett Click to read or download PDF
TV Futures - The Shadowing Experience
Daniel Jones My name is Daniel Jones, and it is no accident that I’m currently studying BSc (Hons) Television and Broadcasting at the University of Portsmouth. Since completing GSCE media studies I have been constantly questioning what I watch with questions such as, “Wow, how was that filmed?” or “That looks amazing, I wonder how long that took?” It should come as no surprise that I made it a big focus of mine to get myself some real work experience to give myself some answers to these production questions.
Tags: iss136 | portsmouth university | runner | student | education | training | Daniel Jones
Contributing Author Daniel Jones Click to read or download PDF