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Netflix’s Unbreakable Kimmy Schmidt
gets crisper look via UHD

Having compiled seven Emmy Award nominations in its debut season, Netflix’s Unbreakable Kimmy Schmidt returned in mid-April with 13 new episodes in a form that is, quite literally, bigger and better.

The sitcom, from co-creators Tina Fey and Robert Carlock, features the ever-cheerful and ever-hopeful Kimmy Schmidt, whose spirit refuses to be broken, even after being held captive during her formative years. This season the series has boosted its delivery format from standard HD to the crisper, clearer, more detailed look of Ultra High Definition (UHD).

As with the show’s first season, post finishing was done at Technicolor PostWorks New York. Online editor Pat Kelleher and colorist Roger Doran once again served as the finishing team, working under the direction of series producer Dara Schnapper, post supervisor Valerie Landesberg and director of photography John Inwood. Almost everything else, however, was different.

The first season had been shot by Inwood with Arri Alexa, capturing in 1080p, and finished in ProRes 4444. The new episodes were shot with Red Dragon, capturing in 5K, and needed to be finished in UHD. That meant that the hardware and workflow used by Kelleher and Doran had to be retooled to efficiently manage UHD files four times larger than ProRes.

“It was an eye opener,” recalls Kelleher of the change. “Obviously, the amount of drive space needed for storage is huge. Everyone from our data manager through to the people who did the digital deliveries had to contend with the higher volume of data. The actual hands-on work is not that different from an HD show, but you need the horses to do it.”

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Sony Imageworks helps take Alice Through the Looking Glass
By Christine Holmes

Sony Imageworks VFX supervisor Jay Redd’s journey with Alice Through the Looking Glass began at the end of 2013, a full two and a half years before the US domestic release.

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Review: Red Giant’s Trapcode
Suite 13, Part 1

Have you ever watched a commercial on YouTube and thought, how in the world do these companies have the budget for the VFX and motion graphics work featured?

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Adam Schwartz and Jim Ulbrich join Nomad Editing

SIM Digital, Bling and Chainsaw under one roof

Behind the Title: Northern Lights Pat Carpenter

HPA’s SCRG mixer is back with table-led discussions

Dave Cole joins FotoKem
as senior colorist


Sight, Sound & Story: How these pros found their path

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