The Soho-based visual effects studio The Mill has installed two Nucoda Fuse systems to manage all footage that travels in and out of The Mill TV and Film Studio. Recent projects using Fuse include Doctor Who Merlin Primeval and stereographic CG shots for the new Narnia film The Chronicles of Narnia: Voyage of the Dawn Treader. The systems are housed in the new Mill TV and Film suites in its Clipstone Street premises. All conforms from tape film scans or Red are carried out using the Nucoda Fuse systems. The Mill TV and Film then use Nucoda Fuse to export all the VFX elements required for the artists to track animate and composite; in addition Nucoda Fuse is used to drive dailies sessions for composites to see how work is progressing. Matthew Clarke head of editorial Mill TV and Film says “Nucoda Fuse is ideally suited to our pipeline as it provides a simple and efficient way to update new versions of shots. Once the composites are finished we export the conformed show to our SAN. This is a huge benefit to us because the data is automatically available; we can get straight on with the job without having to spend time pulling data into the system.” Mill TV and Film recently used the Nucoda Fuse DVO toolset to clean footage for the BBC’s third series of the cult drama Merlin. Clarke says “Using the Nucoda Fuse DVO Dust tool we were able to automate the majority of the clean up process for the Merlin project which was shot on 16mm. This is incredibly useful when working to tight deadlines as it allows us to export the entire master and automatically clean it as it’s exported to our SAN. Once that’s done we visually check through the whole program to address any further issues that need fixing by hand. It’s a job that used to take two days with an experienced artist and now thanks to Nucoda Fuse it can be completed far more quickly.” Mill TV and Film also used the Nucoda Fuse stereoscopic tools for 3D CG shots of the new Narnia feature The Chronicles of Narnia: Voyage of the Dawn Treader. Clarke says “It was really important that we could view the stereoscopic work back on a regular basis to check that the depths were right and that everything was positioned correctly. We were frequently updating shots to fix issues and to be able to consistently view the material was essential and enabled us to meet tight deadlines.” Digital Vision www.digitalvision.tv
