Evolutions has devised a bespoke post-production workflow for the return of sci-fi comedy Red Dwarf.

Having fought off competition from other London facilities to get the contract, Evolutions will adopt its own conform and grade process to allow fast turnaround and editorial changes on the three-part
series, which was shot on a Red One camera and contains more than 240 visual effects shots.

The workflow utilises Avid Symphony Nitris DX and Baselight 4.1, and allows colourist Nick Adams to grade with complete access to original media at full resolution.

“Utilising the beta version of Baselight's latest software, the Red rushes will be taken straight into the grading system along with the offline AAF files from the Avid,” explained online editor Nick King.

“Sequences will then be linked to the original Red 4K HD rushes ready for the grade. This will quicken the grading process as there will be no need to spend time converting rushes to DPX files.”

The set-up also makes it possible for the finished grade to be rendered out as Avid MXF media on to Avid storage, making it easy to go back and forth between systems when making editorial changes.

The offline editor is Nick Ames. Mark Owen will mix the audio. Mike Seymour of FXPHD is the visual effects supervisor.

Red Dwarf: Back to Earth, made by Grant Naylor Productions, airs on Dave from Friday 10 April. Red Dwarf: The Making of Back to Earth airs on Sunday 12 April.