2036 Origin Unknown Delivered with DaVinci Resolve Live Visual Effects Workflow

Blackmagic Design today announced that post production, including an innovative live visual effects (VFX) workflow, for sci fi adventure, "2036 Origin Unknown,\" was delivered in DaVinci Resolve Studio by editor Will Steer and Goldcrest Post colorist Maria Chamberlain.
Directed by HaZ Dulull, and starring sci fi veteran Katee Sackhoff (Battlestar Galactica, Riddick and Netflix’s Another Life), "2036 Origin Unknown\" tests the relationship between humanity and technology, when an artificial intelligence system, A.R.T.I., assisted on a mission to Mars by Katee’s character, Mack, goes rogue.
Completing the online edit and conform was Will Steer, who adopted a unique, layered approach to his pipeline developed by Dulull and Associate Producer Paula Crickard.“The timeline was naturally VFX heavy, and with such a tight deadline, we needed a workflow that would allow Goldcrest complete flexibility in the grade,” explained Steer.
“Within Resolve, we had separate layers for on screen graphics and visual effects work, as well as for each of the camera packages, which all had different color spaces. When it came to the grade, Maria could turn everything else off and just work within a specific layer.”
Another timesaver, for both Will and Maria, was the ability to manipulate the VFX work themselves. “Adding realistic detail to shots is normally done in compositing software, but we could do this directly in Resolve with built in plugins such as grain, lens flares, camera shake and motion blur. As well as delivering high quality, convincing effects, this workflow meant no time consuming round-tripping with other software packages,” says Will.
Maria adds, “For example, during the grade, we adjusted the timing of the button illumination on Mack’s main control desk to suit the story at any given point, as well as manipulating A.R.T.I.’s responses by refining color and timings that were already mapped out in the layer.
“We also had access to all the assets we needed for screen graphics and monitor UIs on separate layers too, which allowed easy access to color, position and sizing live on the timeline, without having to request new versions or mattes for specific elements from vendors. This afforded HaZ and myself total creative freedom in the grade without compromising delivery time.”
“It’s often the case that last minute VFX changes are attempted in the grade,” concludes Will. “But developing such a flexible, multilayered timeline in DaVinci Resolve elevated the workflow hugely. We were adding deliberate creative, yet very convincing, flourishes to the film as part of our process, and we could do it right in Resolve with extreme ease.”