About 20 hours deep on the post for scene 16. It's definitely the most complicated post work i've done for any one scene. All my hard-learned lessons for workflow are coming in handy.

Through various byzantine machinations, i've wrangled myself a new computer. Nothing too fancy, but a huge leap from the old one. The previous one wasn't capable of doing proper post work. The new one handles it easily. So I can finally do that stuff myself.

Did all the keys for Lord William in scene 16 yesterday. They were the most complex keys i've done to date. Which was compounded by all the colour shenanigans.

Here's the comp/precomp layers setup for Lord William in a medium shot (like the video clip)

Shot

-Lord William precomp

-LW highlights precomp

-LW highlights precomp, using above layer as 'luma matte'

-Black solid, mask keyframed to follow the hair

-LW footage for Matte, keyed for hair, 'set to screen matte', using above as alpha matte

-LW footage for Matte, keyed, set to 'screen matte'

-LW Darks precomp

-LW Matte for Dark precomp

-Black solid, mask keyframed to follow the hair

-LW footage for Matte, keyed for hair, 'set to screen matte', using above as alpha matte

-LW footage for Matte, keyed, set to 'screen matte'

-LW Footage (keyed), above layed set to 'luma matte'

Point being, there's a lot of crap going on.

Had another whack at the colour for scene 16. Just for fun. I've got Dave working on it too.

The wealth of options is actually making it difficult. Hard to commit to a colour scheme. We can control the highlights of the table, the highlights of Lord William, the darks of Lord William, the highlights and darks of Cornelisz (the dude who's back we're looking at in the picture) and the background all separately. And they're all bright to begin with.

Hard.