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  • Kerry

    Kiss the Ground Uses DaVinci Resolve Studio

    December 3, 2020, 8:00 pm
    Blackmagic Design announced today that the full length feature documentary “Kiss the Ground,” now available on Netflix, was conformed and graded using DaVinci Resolve Studio.
    Fremont, CA - December 3, 2020 – Blackmagic Design announced today that the full length feature documentary “Kiss the Ground,” now available on Netflix, was conformed and graded using DaVinci Resolve Studio.     


    Narrated by Woody Harrelson, “Kiss the Ground” sheds light on a new approach to farming called “regenerative agriculture,” which has the potential to balance our climate, replenish our vast water supplies and feed the world. Filmmakers Josh and Rebecca Tickell were no strangers to environmental topics, having made 14 films on the subject and been involved in climate change activism over the years.     

    “But honestly,” said Josh Tickell, “after two decades of doing this work, we felt like we were hitting a wall with the global climate conversation. It was clear to us that we had lots of data on the problem, but very little actionable data on the solution.” Soon their friends started trying to convince them that their next movie should be about soil. “Once we saw the data of how much carbon soil can hold, we were convinced. And so began a seven year journey to make this movie.”     

    The true challenge of the film was to capture, over a number of years, numerous interviews and footage from around the world, while also incorporating various third party footage, animations and visual effects, all of which needed to integrate. “We were committed to having a very cinematic experience with the film,” added Tickell. “It’s tough to do on a tight budget and we knew a lot would come down to post and color. Thankfully DaVinci Resolve Studio was instrumental in giving everything the consistency it deserved.”     

    With many versions of the film forming throughout the years, the team used their editing package to maintain a current look using existing color tools. “In many ways the temp color would have been sufficient if we wanted to deliver a good doc but it was not sufficient for a great documentary.” Once the film reached a final cut, the massive job of reconforming in DaVinci Resolve Studio began. “Going back to the original master footage was brutal as we had been slowly adjusting the film’s look for seven years. Suddenly, we had to start from scratch. But Resolve gave us very deep control over the movie’s look.”     

    Unlike narrative projects, where the film is typically locked within a certain time frame, “Kiss the Ground” was an open book for years. Josh and Rebecca Tickell brought in long time collaborator and color pipeline specialist Darius Fisher with Digital Neural Axis (DNA) to help manage the complexities. “Over the years we had many different versions we hoped at the time were close to a final locked rough cut,” said Fisher. “We actually did many mini online sessions along the way, taking shots into Resolve and working on color, so finally when we actually started finishing and coloring a locked cut, we were already in the zone.”     

    Fisher’s team worked throughout the process, taking clips into DaVinci Resolve Studio for speed changes or frame rate adjustments, but finally with a locked cut, they faced a true deadline, and with that delivery requirements for Netflix. The team moved the conform to FotoKem and colorist Phil Beckner, where they began the process of finishing the film.     

    The goal for the final look was always to represent reality, without augmenting the imagery in a way that felt disingenuous. “Our main goal was to bring out the best in every single shot in the movie,” said Beckner, “but also to have it feel natural and representative of the subject matter. For instance, when a rancher in the film is comparing his farm with his neighbors, it is important to accurately represent the color of the grass, the color of the dirt so the viewer can really get a sense of the reality of the situation. If we were to go with too heavy of a ‘look’ in these cases, the ultimate message of the movie could suffer.”     

    Though the edit was locked when they conformed in DaVinci Resolve, Fisher was grateful for the powerful editing tools within the package, which helped them quickly adapt to changing clips even during final color. “Truth be told, we were not fully picture locked, so there was a fair amount of editorial we did in Resolve as we did scores of footage replacements due to licensing issues.”     

    With continual clip changes, final animations and VFX shots still coming in, it was a race to the finish to complete. Both Fisher and Beckner found the powerful tools in DaVinci Resolve helpful in achieving the right look while working quickly at the end. Fisher appreciated the Super Scale tool within the Edit page, which was used extensively on various clips that came in at lower resolution. “I found this tool to be enormously useful in producing great results for upscaling, sharpening and noise reduction.” Beckner used the Color Space Transform OFX plugin as well as grain management tools. Both appreciated Resolve’s ability to manage multiple frame rates and file formats as they worked hard to deliver a full Ultra HD delivery for Netflix.     

    For Josh and Rebecca Tickell, their goal was consistency in image throughout the film, something the Netflix specs encourage, and the filmmakers insisted on themselves. “Netflix has done an amazing job of being able to serve a consistent look across thousands of types of screens. In that sense, they really have created the gold standard for what a film looks like in the digital world. I think where DaVinci Resolve Studio really came in most useful is being able to see an image that was very, very close to what it would look like once the IMF was ingested at Netflix and shared with the world.”     

    Fisher and the filmmaking team appreciated that Resolve was equally accessible at their editorial bay as well as in final color, enabling them to work together, simply by sending .drp files back and forth. “Naturally, Phil and the team at FotoKem took the film’s look to an even higher level but when I see the film now on Netflix, it’s exactly what we were going for. It was a tough process for a tiny studio to deliver a documentary like this to a major studio in 4K, but we did it. There’s no way we could have made that happen without DaVinci Resolve Studio.”     

    Press Photography  
    Product photos of DaVinci Resolve Studio, as well as all other Blackmagic Design products, are available at www.blackmagicdesign.com/media/images.      

    About Blackmagic Design  
    Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.   

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  • Other Postings By Member

    • Kerry
      COLOR

      Koala Mattress Commercial Used URSA Mini Pro 12K

      January 19, 2021, 7:31 pm
      Blackmagic Design today announced that Koala Furniture’s new commercial campaign for their new Koala Mattress was shot on URSA Mini Pro 12K. The commercial was shot completely on the URSA Mini Pro 12K using Blackmagic RAW, with post production done using DaVinci Resolve Studio for collaboration and color correction.

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    • Kerry
      COLOR

      Afinal Filmes Uses Cintel Scanner

      January 13, 2021, 7:39 pm
      Blackmagic Design today announced that Brazilian film restoration and post production facility Afinal Filmes has used the Cintel Scanner and DaVinci Resolve Studio to restore more than 60 feature films and digitize nearly 500 newsreels, including the 1968 Brazilian film “Como Vai, Vai Bem?” and 30 Hollywood silent films from the 1920s and 1930s.

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    • Kerry
      EDITING

      Istanbul’s Bando Post Uses DaVinci Resolve Studi

      January 12, 2021, 8:07 pm
      Blackmagic Design has today announced that Turkish post facility, Bando Post, has deployed DaVinci Resolve Studio throughout its pipeline, including edit, visual effects, sound design and final grade.

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    • Kerry
      EDITING

      Tones and I's Fly Away Used DaVinci Resolve Studio

      January 12, 2021, 8:04 pm
      Blackmagic Design today announced that Visible Studios used DaVinci Resolve Studio for color correction and editing on “Fly Away,” the newest music video by global singing sensation Tones and I. DaVinci Resolve Studio was also used for VFX and sky replacements for the video, which includes dramatic scenes of people levitating and flying.

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    • Kerry
      VFX

      Blackmagic Design Brings Stick Figure War To Life

      January 11, 2021, 7:21 pm
      Blackmagic Design announced today that production company SoKrispyMedia’s newest release, “Stick Figure War” was shot in Blackmagic RAW using Blackmagic URSA Mini Pro 4.6K G2 and Micro Studio Camera 4Ks, with post work done in DaVinci Resolve Studio.

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    • Kerry
      EDITING

      Disney+'s Safety Uses DaVinci Resolve Studio

      December 22, 2020, 3:52 pm
      Blackmagic Design announced today that the Disney motion picture “Safety” utilized a complete DaVinci Resolve Studio workflow from principal photography through final delivery, incorporating an innovative digital asset management (DAM) system on set built around Blackmagic Design’s switchers, recorders, routers and monitors. The film had its premiere on Disney+ this month.

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    • Kerry
      COLOR

      Atlantic Crossing Delivered in DaVinci Resolve

      December 14, 2020, 2:22 pm
      Blackmagic Design today announced that 8 part historical drama series, Atlantic Crossing, was graded in DaVinci Resolve by Nordisk Film Shortcut Oslo senior colorist, Dylan R. Hopkin.

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    • Kerry
      VFX

      9 Monkeys of Shaolin Trailers Created with Fusion

      December 9, 2020, 3:02 pm
      Blackmagic Design today announced Amsterdam based 3D animation studio Colorbleed used Fusion Studio to create trailers for the announcement and launch of the video game 9 Monkeys of Shaolin.

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    • Kerry
      EDITING

      TerraX Docs Edited with DaVinci Resolve Studio

      December 8, 2020, 3:32 pm
      Blackmagic Design today announced that three documentaries produced for national German broadcaster, ZDF, as part of its primetime TerraX series, were edited and graded with DaVinci Resolve Studio.

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    • Kerry
      EDITING

      Film for The North Face Shot on URSA Mini Pro G2

      December 4, 2020, 4:17 pm
      Blackmagic Design today announced that Towers of Tigray, a branded content film for The North Face, has been produced by Colab Creative using a Blackmagic RAW workflow for both acquisition and post.

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