Netflix original feature film “Togo” is a fast paced crime thriller written and directed by acclaimed filmmaker Israel Adrián Caetano. It tells the story of Togo, played by actor Diego Alonso, as he lives and works in Montevideo, Uruguay. Working as a car attendant, helping people park cars and giving directions, Togo is forced to protect his livelihood, and his life, when he comes face to face with drug traffickers.
Uruguay based post production houses SKAfilms, Colour Studio and Trailer Films collaborated on the post process, creating efficiencies and streamlining the workflow with an ACES color managed pipeline within DaVinci Resolve Studio editing, color grading, visual effects (VFX) and audio post production software. With SKAfilms, working in conjunction with Trailer Films, responsible for proxy management, mastering and IMF preparation, and Colour Studio responsible for color grading, the three post studios could confidently focus on creativity and their deliverables while being supported by the consistency of the ACES standard. The color managed pipeline eliminated any uncertainty and time consuming troubleshooting from the post workflow, and the teams could easily share materials with DaVinci Resolve Studio.
“With SKAfilms, Trailer Films and Colour Studio working in ACES in Resolve, we could seamlessly exchange DaVinci Resolve project files, which was incredibly useful in streamlining the post process. We could also double check in advance with Colour Studio regarding the color space, HDR settings, and everything Netflix required for making the IMF package properly to their specs and standards. In a matter of seconds, we could ensure we were all on the same page,” explained Agustín Fagetti, IMF packaging editor at SKAfilms.
To create the desired filmic look for “Togo,” Colour Studio turned to the halation effect in DaVinci Resolve Studio to add glow and light reflections around high contrast edges.
“We were very impressed with the powerful, built in effects in DaVinci Resolve Studio,” said Colorist Daff Schneyder, Colour Studio. “Along with the halation effect, we also utilized the texture film grain effect throughout the film. Without these tools, we would have not been able to achieve the consistent, warm aesthetic the director wanted.”
When it came time to create an IMF package for Netflix, the SKAfilms team was ready. “IMF can be very complex in terms of metadata and its internal architecture, especially working in HDR, but the way DaVinci Resolve Studio is designed made the process seamless and intuitive,” said Fagetti.
To maintain a consistent look across thousands of different types of screens that audiences consume content on, Netflix requires adherence to stringent standards. While Netflix guided SKAfilms in its IMF workflow, Fagetti noted that creating IMF packages in the same software that the film was graded in provided a key advantage.
“Making the IMF packages in DaVinci Resolve Studio was a game changer for us. We could make sure we had the correct settings in terms of color management, and we could easily solve any issue thanks to the Dolby Vision metadata in DaVinci Resolve Studio. The package itself is amazing in terms of its internal architecture, as you don’t have to send the whole film again in every single round of changes. You only send specific changes, and Resolve’s IMF technology, helped by the metadata, will determine which frames/shots are okay and which need to be resent, only generating new media for those,” he explained.
“The versatility that DaVinci Resolve Studio offers, like importing Dolby Vision metadata into the timeline for the trim pass, facilitated the whole VDM process. Without DaVinci Resolve Studio, SKAfilms would not have been able to take care of the IMF,” Fagetti concluded.
“Togo” is now streaming on Netflix.
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