Conform was done in Blackmagic Resolve where Finale’s editors revised the cut with new visual effects, allowing for a seamless update during color grading. There were over 200 visual effects shots per 30-minute episode done by VFX Cloud. Some episodes go to unique enviroments as part of the quest which drives the story, and they have their own look and feel,” explains Wright. The exterior forest scenes have a softer look, with filtered light coming through the trees. “The show is comedic but we graded with a dramatic feel, keeping most of the interior locations moody and textured. To eliminate negative space at the top of the frame, Wright did shaping and vignetting to keep the focus on the puppets. Being puppets, the “actors” would often be in the lower portion of the frame in wide shots. With the show featuring puppets there were unique elements to navigate in post. Some episodes go to some unique environments, such as a dried-out desert landscape, snowy mountain peak, a dragons cave and a witches castle, to name just a few. “We regularly added VFX-style effects such as glowing eyes for a character, or light rays in the forest to enhance a musical scene.” They were always thinking about how we could accentuate story points with color and effects,” explains Wright. Mitchell, Walzak and Wright initially collaborated remotely before crafting the main color grade at Finale’s Vancouver location, where the trio worked in the facility’s main DI theater while socially distancing. Massey and the show’s cinematographer, Tyler Walzak, turned to Finale Post (Picture Shop Vancouver) senior colorist Lorne Wright to handle the grade.

The show’s co-creators are Mike Mitchell and Drew Massey, who was also a puppeteer on the series). He finds adventure when he meets Brendar, a female warrior on a quest to avenge an attack on her family. Nickelodeon’s all-new 13-episode live-action puppet series The Barbarian and the Trollfollows Evan, a bridge troll in search of excitement and a place to perform his songs.

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