The Pope’s Exorcist

Instead of using a large curved volume, the production opted for straight walls with two on movable rollers, and a pre-rendered plates workflow.This setup was perfect for the production, and not restrictive, as they had a clear storyboard and plan for each shot which didn’t require much camera movement, and didn’t require camera tracking. Another benefit of this setup was that the plates didn’t need to be stitched together, which also relieved time pressure.

We utilised Disguise media servers, Brompton SX40’s with 3d LUT control via Pomfort Livegrade, and Hydra calibrated Roe Black Onyx tiles supplied by Faber to manage the exact colour pipe. Pomfort’s Livegrade gave the DIT the ability to grade the content on the LED screens to match the show LUT on set. We were also able to give the gaffer a “digital sun” via artnet which allowed the lighting operator to manage a sun position in the LED screens.

Virtual Production
High Res

VFX Supervisor: Greg Strasz
DP: Khalid Mohtaseb
Gaffer: Barry Conroy
DIT: Simon Keenan
Plates: Driving Plates UK
Plates Grade: Outer Limits Post Production