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Issue link: https://digital.macdirectory.com/i/1134553
team was able to key in several different dramatic sky reference images shot by Davis during preproduction together with a live feed from the camera. With feedback from Burton, these were then used to inform the lighting and mood of the entire set. “Tim was keen on keeping a good level of contrast in everything to help integrate the computer-generated assets with the background,” Glasman continues. “The VFX vendors (MPC) were given references for how a scene would probably look and lit their CG accordingly, so I had to be very careful not to spoil that.” According to Glasman, this was especially important for the Dolby Vision deliveries. “The CG skies, for instance, look amazing. If you compare a traditional DLP projection at 48 NITs to the Dolby Vision version at 1,000 NITs, you instantly notice that you get a far wider color gamut with more added dimension with Dolby Vision. The sky is just as bright as it would be in the real world, so you have to treat it very sensitively.”