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I N T E R N A T I O N A L N E W SWWW.INBROADCAST.COM | ISSUE 38 - DECEMBER 201448InSTUDIOBCE Produces Commercials For LaluxFollowing the commercialproduced in 2011, LaluxAssurances asked BCE to producetwo new video clips to promote their“Lalux easy-protect” product.This time BCE teamed up withWonderlandmovies (Germany) tocreate a viral web campaign givingthe possibility for the viewer topersonify the main characters.As one of the leading insurers inLuxembourg, Lalux Assurances hasproduced many commercials withBCE, this time the company wantedto produce two new clips, but witha viral twist.Keeping the fi lming method ofthe first episode promoting “easyprotect”in 2011, BCE produced theclips using a first person point ofview with the viewer seeing throughthe eyes of the protagonist.The new scenario and idea, byThomas Neunreither (Is it true whatthey say about Luxembourg / Labourse de Luxembourg Anniversary)with the viral web campaign led theBCE helmet camera – the Blackmagic Pocket Cinema Camera is used with Zeiss Cinemizer glassesproduction team to create a newfilming helmet.less than two kilos and allows face, and special spaces for the text partnership with WonderlandmoviesFully engineered by BCE, the immersive productions.in the video clips. Connecting to made a real difference for thehelmet has a Blackmagic Pocket The second part of the advertising the website www.easydate.lu, the final project. In less than threeCinema Camera in front of the campaign is centred on the viral viewers can create their own video months the campaign washelmet with Zeiss Cinemizer glasses twist. Wonderlandmovies, a and send it to their friends using produced and the viral mechanismdirectly connected to the camera Germany based company, created email or social networks.developed,” commented Xavierwhich allows the cameraman to a system that allows the viewers to “It was great to work again Thillen, Head of Production andsee exactly what the viewer will upload their photo and name and with Lalux Assurances and the Postproduction at BCE.see. This innovative system weighs make it appear directly on the actors Lalux easy-protect products, theThe Duke Of Burgundy: Cinematic HeritagePeter Strickland follows up hisfestival hit Berberian SoundStudio with a dark melodrama.Lensed by Nic Knowland andfeaturing Sidse Babett Knudsen(Borgen) and Chiara D’Anna, TheDuke of Burgundy is about anintimate relationship between awoman who studies moths andbutterflies and her housekeeper.Colourist Greg Fisher of Company3 London was tasked with crafting arich immersive sensory experienceusing DaVinci Resolve. “The Dukeof Burgundy is a film that examinespower and sensitivity, exploringthe lengths to which a personcan push her lover. Although thetime and location are not tightlydefined, the film appears distinctlyEuropean,” says Fisher.“I wanted the grade to fit tonallywith the design and sound illustratingthe world inhabited by the couple.Although the palette is quite naturaland filmic, it is not completelynormal. We pushed a little colourinto areas of the exposure to findcontrast and create a sense ofescapism from the everyday.”Due to the very dark nature of thefilm, there were several challengesthat Fisher had to overcome duringthe grade. “There are a number ofnight scenes, some of which wereshot at night, and some of whichare day for night shots. Thankfullythe dynamic range of the Alexapreserves detail in the highlightswell, which allowed us to bringdown the exposure a number ofstops during the digital intermediate,pulling detail out of the highlights.”“In certain scenes, we were tryingto darken to a point where it wasonly just possible for the audienceto discern what was happening. Theidea being that you might squintand search out specific detailsin a scene, like you would whentrying to navigate your way aroundan environment in near darkness.The film has a late summer, earlyautumn feel throughout, howevernot everything was shot during thatperiod so we had to make sureeverything was consistent in termsof both the look and feel.”Developing the feature’s verydistinctive look proved to be anintuitive process: “We didn’t discussmany visual references at the outset,nor did we force the grade in anyspecifi c direction. Watching theoffline, hearing the sound design,looking at the production designand listening to the wonderful musicwritten by Cat’s Eyes all helped indeveloping the film’s colour palettein quite a natural way.”“The log grading options withinDaVinci Resolve were really helpfulThe Duke of Burgundy graded on DaVinci Resolveduring the DI as I was able to quicklyshape the curve far more preciselythan if I’d hand drawn the customcurves myself,” concludes Fischer.“We also needed to track a lot ofwindows, especially on the day fornight shots and Resolve’s shapetracker made this a fairly quick andpainless process,” he said.
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