Dirty Looks grades The Full Monty series for Disney+ UK
The new 8 x 60′ Disney+ original series “The Full Monty” revisits the same group of characters still living in Sheffield, 25 years after the original Bafta award-winning comedy film was released.
The Dirty Looks team, worked closely with Post Production Supervisor, Jim Hegarty and Little Island Productions to complete the picture post for the series. This included full conform, grade, QC and delivery of the production in Dirty Looks’ 4K Dolby Vision suite, centred around Baselight with integrated workflow with Flame.
Disney+ required a Dolby Vision HDR grade with a SDR trim pass. Each episode took 2-3 days for the HDR grade and half a day for the SDR pass.
Dirty Look’s Colourist, Gareth Bishop, grading in HDR on Baselight worked closely with DOPs Tony Slater Ling and Luke Bryant to create the look and bring unity across the show’s two blocks.
“A ‘hopeful’ and ‘aspirational’ look and feel was required with a few nods to the original film which was originally shot on highly-saturated film stock.” says Bishop.
Bishop continues “If you look at the scene in the Big Baps cafe we used colour to create a warm, safe space for the characters who gather here daily and have done so for the last 25 years!”
Dirty Looks worked alongside Goodbye Kansas and Incessant Rain on the film’s VFX which included general clean-ups and beauty work such as wire removal and split screens as well as making sure one of the film’s characters looks dead.
The online was completed by Dirty Looks along with the compositing of many shots including the pigeons which appear throughout the city and countryside scenes.
The titles were designed by Studio Juice and are in keeping with the original film titles. Dirty Looks’ Flame department worked with the still reference frames, to create unique subtitles composited into a moving opening shot for each episode.
Disney+ took delivery in HDR and SDR at UHD, the show having been graded creatively in Rec2020 PQ at 1,000 nits on one of Dirty Looks’ Sony HX310 monitors. SDR trim pass adjustments were caried out using Dolby Vision analysis and DV trim tools in Baselight to create SDR metadata.
Deliverables were created in Baselight and Cortex, as both image sequences and IMF packages, with Quicktimes and other requirements, too. Over100 TB of production data was homed and rendered on Fluxstore, and copied to LTO 8 at the close of the project.
The series has been an enjoyable homage to the much-loved original film, and Dirty Looks were proud to be part of this re-imagination for the next generation.