Graded by Prehistoric Digital, a post house out of Santa Monica, the hit singer Lorde’s latest music video also used Teranex 2D video processor to “…complete a range of standards conversions to get the new music video ready for an international audience”.
On how DaVinci helped Prehistoric Digital in their work on Lorde’s new video for “Team”, their founder Kevin Cannon says it allowed him to color grade in a way that “…preserve[d] the mystery of the story and [kept] many of the details just visible through the haze.”
Their work goes much much deeper, and it sounds like they really explored DaVinci’s full range of power for Lorde’s latest hit. You can find out more detailed info on Prehistoric Digital’s creative and technical processes in the press release below. Be sure to also visit Prehistoric Digital at prehistoricdigital.com for more examples of their awesome work.
As always, be sure to visit BlackmagicDesign.com for more information on DaVinci, Teranex 2D, and all of Blackmagic Design’s other great products.
DaVinci Resolve 10 and Teranex 2D Used on Lorde’s “Team” Music Video
Fremont, CA – January 8, 2014 – Blackmagic Design today announced that Santa Monica based post production facility Prehistoric Digital graded the music video for Lorde’s new single, “Team,” on DaVinci Resolve 10. The company also used Blackmagic Design’s Teranex 2D video processor to complete a range of standards conversions to get the new music video ready for an international audience.
Lorde’s first single, “Royals,” spent nine weeks at #1 on the Billboard Hot 100 chart, and the international pop phenomenon has just been nominated for several Grammy awards.
The concept for the “Team” video came from a dream Lorde herself had, where teenagers lived in their own world filled with hierarchies and initiations. Directed by Young Replicant and filmed in Brooklyn at the abandoned Red Hook Grain Terminal, the “Team” video features two contrasting looks for the two parts of the story. Above ground, a new arrival to the “team” is lead through urban ruins to face his initiation, with the feel of a winter afternoon. Underground, the initiated teens sit in a dark, tropical, forest like setting.
Kevin Cannon, founder and partner at Prehistoric Digital and colorist on the “Team” video, said that in both cases, he wanted the color grade to preserve the mystery of the story and keep many of the details just visible through the haze.
“The precision of the color tools in DaVinci Resolve helped with treading this line and finding the overall balance,” said Kevin. “Then we used extensive tracking Power Windows to ensure that the right details were either revealed or hidden. The speed and accuracy of the tracker was a huge asset. The addition of unlimited windows per node in DaVinci Resolve 10 helped to keep the complicated sets of shapes to a manageable number of nodes.”
After the video was shot, the staff at Prehistoric used DaVinci Resolve 10 to generate several sets of media. First, they created editorial media with cinematographer Todd Banhazl’s specific looks and the anamorphic de-squeeze, or a stretching of the anamorphic signal to the correct aspect ratio, incorporated into one set. Second, they made full 2k resolution versions with the anamorphic de-squeeze in LogC for use on any visual effects that might come up. Once the edit was finished, they conformed in DaVinci Resolve 10, linking back to the Alexa camera originals for the color. According to Kevin, DaVinci Resolve was integral throughout the whole post process.
The video also had a tight turnaround, with final VFX adjustments and editorial changes being made right up to and during the color session. Kevin used many of the new online editing tools in DaVinci Resolve 10 to not only match the editorial changes, but also to make new changes when ideas came up in the color session.
Kevin continued: “Creating high quality retiming effects in DaVinci Resolve 10 is certainly the biggest time saver for us, and was an excellent solution for a series of shots in the motorbike joust climax. We also used new features to work with audio in multiple tracks, generating text for slates and a bit of compositing.”
Along with DaVinci Resolve and Blackmagic Design DeckLink and UltraStudio capture and playback devices, Prehistoric Digital also used Blackmagic Design’s Teranex 2D Processor for standards conversion on the video. The original camera media was shot at 23.98 frames per second, as was the final master. For broadcasting in different markets, the team used the Teranex to create 25 fps and 29.97 fps versions.