Skyfall’s Post Production Workflow

Inside Skyfall’s post production process

The latest instalment of the Bond franchise does not disappoint (so go see it if you still can!) and as ever Roger Deakin’s cinematography does nothing but delight. Here is a quick round up of some of the best posts on Skyfall‘s post production process.

DIT Work on Skyfall – EFLIM/CO3

Studio Daily has a good short write up on some of the technical details of the onset process used to capture the footage and set the look. Read the full article here.

During production, the ARRI RAW files were captured to Codex drives via T-link connection. EC3 set up temporary dailies suites for the project in London and subsequently in Turkey when shooting moved there, so Deakins could be in constant contact with dailies colorist Marc Lulkin to get the images to look the way he intended.

Creative Cow also has a great write up on the dailies to DI workflow from EFilm and Company3 which provides lots of interesting details.

“EFILM shipped over the Colorfront On Set Dailies system, Colorstream color correction toolset and the E-View calibrated dailies playback system. We installed it all and we were off to the races. It happened pretty quickly.”

Visual Effects work on Skyfall

The latest episode of the FX Guide podcast features a rich discussion of film, the entire Bond franchise, title sequences and the visual effect work involved. For the hour and half of chat Mike Seymour is joined by Matt Leonard and Ed Moore.

Studio Daily also has another great write up of Cinesite’s contribution to the film’s VFX.

Roger Deakin’s on shooting with Arri Alexa

Arri Alexa has a 3 part video series featuring Roger Deakin’s talking about shooting In Time and Skyfall on Arri Alexa at the Amsterdam IBC 2012. Its interesting to hear Deakin’s perspective on shooting digitally over film after all these years as a film master.

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