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Color plays key role in Ava DuVernay’s
A Wrinkle in Time

Color itself plays a significant role in the fantasy feature A Wrinkle in Time. To help get the look she wanted, director Ava DuVernay chose Mitch Paulson of Hollywood’s Efilm to handle final color grading — the two worked together on the Oscar-nominated film Selma.

Wrinkle, which was shot by DP Tobias Schliessler, captures the magical feel of lead character Meg’s journey through time and space.

The film has several different looks. The rather gloomy appearance of the girl’s difficult life on Earth is contrasted by the incredibly vibrant appearance of the far-off planets she’s taken to by a trio of magical women — portrayed by Oprah Winfrey, Reese Witherspoon and Mindy Kaling.

Paulson recalls DuVernay’s thinking. “Ava talked a bit about The Wizard of Oz, where the early scenes are in black and white and then it goes into color. She didn’t want to take things that far but that informed the overall approach. The parts on Earth at the beginning are somewhat desaturated and depressed looking. Meg lives with her mom because her dad has mysteriously disappeared. She has issues at school and is constantly bullied.”

To fine tune this idea, Paulson built curves inside of Autodesk Lustre 2017. These were designed to desaturate many colors, particularly blues and greens, without significantly altering skin tones. Then he went through shot-by-shot to refine this even further using Lustre’s Diamond Keyer function to isolate certain colors (such as the blue in a row of school lockers) and further pull out some saturation. “I keyed almost everything,” he says, “grass, skies, water. I’d have at least three to four keys per shot.”

Then, as Meg and friends travel to the other planets, Paulson says, “We did the opposite and used curves and keying to make things brighter and more saturated. As soon as they jump to the first planet, you feel the difference.” He also points out that the time travelers find themselves in a large grassy field — a scene for which he isolated the real green of the New Zealand location and brought the saturation beyond anything we’d be used to seeing in real life.

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GTC embraces machine learning, AI
By Mike McCarthy

Graphics made up a relatively small portion of the conference. Most sessions involved machine learning, VR and AI.

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Review: Lenovo’s ThinkStation P910
By Brady Betzel

With so many options out there for building and/or buying a workstation, how do you confidently choose where to spend thousands of dollars?

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Behind the Title: Sound
editor Cathleen Conte

Red’s Gemini 5K S35 sensor
for low-light, standard mode

V-Ray GPU is Chaos’ new
GPU rendering architecture

My tips for music
sourcing and usage

By Yannick Ireland to preview next-gen collaboration tool at NAB

Director Olivier Gondry
returns to Partizan

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