3.前面讲述部分和后面30分钟的导览部分是分开来剪的（完美的黑了一波Pr不适合剪长片），最后合到一起的（最后30分钟emmm感觉还成吧， 葛饰应为/阿荣 的刮骨疗毒图感觉像是把整个手臂给横剖开了啊2333）
To capture the intricate details of Hokusai’s work, the production team shot mainly in 4K but, for the extreme close-ups, NHK provided 8K technology. The large-format footage was ingested and then pan and scanned to the UHD frame. Previously shot UHD footage from the British Museum and NHK, in a variety of frame rates, was added.
The craft edit for the 90-minute film was cut as two sections: a 60-minute doc about the life and work of Hokusai, cut on Avid by Gerard Evans: and a 30-minute film, assembled in Premiere Pro by Gabriel Sainhas, of a private viewing of the exhibition. The two versions were then combined to make a single film.
For the grade, colourist Graeme Hayes worked closely with exhibition curator and head of the Japanese section at the British Museum Tim Clark. Using Baselight, he looked to faithfully reproduce the colour of the various silk and paper-based artworks.
Largely shot in Slog3, Hayes was careful not to over-process the images and worked to bring out an accurate and natural finish. The dubbing mixer was Ben Newth, the post producer was George Thompson and the online editor was Dan Preston-Bear. Jess Nottage devised the workflow.