Blackmagic Design’s DaVinci Resolve Studio managed the color pipeline, including on-set dailies and final grade, for Kenneth Branagh’s adaptation of the Agatha Christie novel Murder on the Orient Express.
The feature’s DI workflow was developed and delivered by Goldcrest Post London, in conjunction with film and digital dailies specialist Digital Orchard. Director of photography Haris Zambarloukos worked with Goldcrest to develop the film’s color science and LUTs, which were then integrated into the dailies pipeline.
“We arrived at a LUT that would give us an authentic filmic look,” explains Goldcrest Post senior colorist Rob Pizzey. “The film has an incredibly rich feeling and so the colors stand out. As such, we didn’t want to pull back on anything.”
Olivia Colman (left) as Hildegarde Schmidt and Judi Dench as Princess Dragomiroff
Photos by Nicola Dove
Sam Spurgeon was Digital Orchard’s dailies colorist on the film, in charge of a dailies color pipeline that included both simple CDL color work for compatibility with VFX and a framework for Rob Pizzey to be able to import a base grade that reflected the DP’s desired look for a given scene.
“Blackmagic provides an excellent suite of tools for dailies grades on Hollywood productions, workflows for editorial and post, and more advanced color work,” Spurgeon notes. “DaVinci Resolve’s extended feature set has been proven to get the most out of both digital and film-based workflows.”
Goldcrest Post’s Sinéad Cronin completed the online edit in DaVinci Resolve. The final DI, including Dolby Vision theatrical grade, was delivered by Rob Pizzey.