Bbc blue planet logo series#
This is nine principal versions for each of the six programme: or 63 versions across the series in total.
Again, this responsibility fell to Films at 59.Īs well as the BBC transmitted version, the Bristol post house will deliver seven more in HD and two in UHD HDR.
Bbc blue planet logo tv#
While viewers in the UK can see Blue Planet 2 in HD on their TV sets (and potentially in higher resolution formats via BBC iPlayer at some point in the future), the series itself is bound for a number of different destinations around the world - and will be viewed in a number of different ways.Īs such, a huge number of deliverables were required. Digital Vision’s Phoenix film restoration application and Adobe’s After Effects were also used.īlue Planet 2 is a BBC Studios Natural History Unit production and a co-production with BBC America, Tencent, WDR, France Télévisions and CCTV-9. The series was conformed and graded in Baselight within an ACES colour pipeline, and finished in Flame Premium. This meant that an element of enhancement and restoration was required.Ī bespoke workflow was designed for the job with Ultra High Definition (UHD) and High Dynamic Range (HDR) delivery, as well as HD Standard Dynamic Range (SDR), in mind. It was a task that was made more complicated by the filming conditions in which the pictures were acquired and the range of varying source material provided. They were tasked with beautifying the images, often on a shot-by-shot basis. The online for the series was completed by Films at 59’s Franz Ketterer and Wes Hibberd. While it may be difficult to work with images from such a strange world it is also hugely rewarding.” “The quality of the camerawork and the beautiful and sometimes beautifully ugly animals themselves deserved the best treatment I could give them. “The amount of information that modern cameras can capture even in such tough conditions is remarkable, but most importantly the footage itself was simply stunning,” he says. With the footage matched, and as much colour and light extracted as possible, the final task was to ensure that resulting pictures could comfortably tell the Blue Planet story. Inglis had a few things in his favour. “I’d often grade a shot multiple different ways and compare the end results to see which approach was best,” he adds. Inglis used Filmlight’s Baselight for the grade and was able to take his time, which really helped. You’d never really want to be working to match the worst quality shot in the sequence ideally you’d get them to match the best ones.”
“You can remix the colour channels, adjusting specific colour hues, mixing between different grades within shots and so forth. “There are a number of ways of doing this,” he says. Therefore, aside from the already difficult task of balancing out such variable material, Inglis and the grading team also had to squeeze as much colour out of the images as possible. At the same time, the whole series needed to feel both natural and vibrant.
Bbc blue planet logo full#
The Deep, for example, features a lot of black while Reef is full of colour. As such, each episode has been given its own individual pallete that matches its subject matter. An orange dotted tuskfish on the Great Barrier Reefĭespite these challenges, the production team still wanted Blue Planet 2 to be much more than just, well, blue.
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