Tag Archives: color grading

The color and sound of Netflix’s The Get Down

The Get Down, Baz Luhrmann’s new series for Netflix, tells the story of the birth of hip-hop in the late 1970s in New York’s South Bronx. The show depicts a world filled with colorful characters pulsating to the rhythms of an emerging musical form.

Shot on the Red Dragon and Weapon in 6K, sound and picture finishing for the full series was completed over several months at Technicolor PostWorks New York. Re-recording mixers Martin Czembor and Eric Hirsch, working under Luhrmann’s direction and alongside supervising sound designer Ruy Garcia, put the show’s dense soundtrack into its final form.

The Get Down

Colorist John Crowley, meanwhile, collaborated with Luhrmann, cinematographer William Rexer and executive producer Catherine Martin in polishing its look. “Every episode is like a movie,” says Czembor. “And the expectations, on all levels, were set accordingly. It was complex, challenging, unique… and super fascinating.”

The Get Down’s soundtrack features original music from composer Elliott Wheeler, along with classic hip-hop tracks and flashes of disco, new wave, salsa and even opera. And the music isn’t just ambiance; it is intricately woven into the story. To illustrate the creative process, a character’s attempt to work out a song lyric might seamlessly transform into a full-blown finished song.

According to Garcia, the show’s music team began working on the project from the writing stage. “Baz uses songs as plot devices — they become part of the story. The music works together with the sound effects, which are also very musical. We tuned the trains, the phones and other sounds and synced them to the music. When a door closes, it closes on the beat.”

Ruy Garcia

The blending of story, music, dialogue and sound came together in the mix. Hirsch, who mixed Foley and effects, recalls an intensive trial-and-error process to arrive at a layering that felt right. “There was more music in this show than anything I’ve previously worked on,” he says. “It was a challenge to find enough sound effects to fill out the world without stepping on the music. We looked for places where they could breathe.”

In terms of tools, they used Avid Pro Tools 12 HD for sound and music, ADR manager for ADR cueing and Sound Miner for Sound FX library management. For sound design they called on Altiverb, Speakerphone and SoundToys EchoBoy to create spaces, and iZotope Iris for sampling. “We mixed using two Avid Pro Tools HDX2 systems and a double operator Avid S6 control surface,” explains Garcia. “The mix sessions were identical to the editorial sessions, including plug-ins, to allow seamless exchange of material and elaborate conformations.”

Music plays a crucial role in the series’ numerous montage sequences, acting as a bridge as the action shifts between various interconnecting storylines. “In Episode 2, Cadillac interrogates two gang members about a nightclub shooting, as Shaolin and Zeke are trying to work out the ‘get down’ — finding the break for a hip-hop beat,” recalls Czembor. “The way those two scenes are cut together with the music is great! It has an amazing intensity.”

Czembor, who mixed dialogue and music, describes the mix as a collaborative process. During the early phases, he and Hirsch worked closely with Wheeler, Garcia and other members of the sound and picture editing teams. “We spent several days pre-mixing the dialogue, effects and music to get it into a basic shape that we all liked,” he explains. “Then Baz would come in and offer ideas on what to push and where to take it next. It was a fun process. With Baz, bigger and bolder is always better.”

The team mostly called on Garcia’s personal sound library, “plus a lot of vintage New York E train and subway recordings from some very generous fellow sound editors,” he says. “Shaolin Fantastic’s kung-fu effects come from an old British DJ’s effects record. We also recorded and edited extensive Foley, which was edited against the music reference guide.”

The Color of Hip-Hop
Bigger and bolder also applied to the picture finishing. Crowley notes that cinematographer William Rexer employed a palette of rich reddish brown, avocado and other colors popular during the ‘70s, all elevated to levels slightly above simple realism. During grading sessions with Rexer, Martin and Luhrmann, Crowley spent time enhancing the look within the FilmLight Baselight, sharpening details and using color to complement the tone of the narrative. “Baz uses color to tell the story,” he observes. “Each scene has its own look and emotion. Sometimes, individual characters have their own presence.”

ohn-crowley

John Crowley

Crowley points to a scene where Mylene gives an electrifying performance in a church (photo above). “We made her look like a superstar,” he recalls. “We darkened the edges and did some vignetting to make her the focus of attention. We softened her image and added diffusion so that she’s poppy and glows.”

The series uses archival news clips, documentary material and stock footage as a means of framing the story in the context of contemporary events. Crowley helped blend this old material with the new through the use of digital effects. “In transitioning from stock to digital, we emulated the gritty 16mm look,” he explains. “We used grain, camera shake, diffusion and a color palette of warm tones. Then, once we got into a scene that was shot digitally, we would gradually ride the grain out, leaving just a hint.”

Crowley says it’s unusual for a television series to employ such complex, nuanced color treatments. “This was a unique project created by a passionate group of artists who had a strong vision and knew how to achieve it,” he says.

Hands of Stone DP and colorist weigh in on film’s look and feel

By Randi Altman

“No mas! No mas!” Those famous words were uttered in desperation by legendary fighter Roberto Durán, putting an end to his rematch with Sugar Ray Leonard. But before that, Durán had impressively defeated the charismatic Sugar Ray, capturing the WBC welterweight title. Durán’s story — along with that of his trainer Ray Arcel — was recently told in The Weinstein Company’s feature Hands of Stone.

Written and directed by Jonathan Jakubowicz, the film’s DP was Miguel Ioan Littin Menz. He worked very closely with director Jakubowicz and FotoKem colorist Kostas Theodosiou to develop several different looks for the film, including for the different decades in which the story takes place, boxing versus training scenes in different locations (New York, Panama, Las Vegas) and flashback scenes.

Robert De Niro and Edgar Ramírez star in HANDS OF STONEThe film stars Édgar Ramírez as Duran, Usher Raymond as Sugar Ray and Robert DeNiro as Ray Arcel.

We were lucky enough to get some time from both Littin Menz and Theodosiou, albeit separately, for questions. First we caught up with Theodosiou.
Enjoy.

How early did you get involved with the film?
Theodosiou: Prior to my involvement in the project, FotoKem’s nextLAB was on location and involved in dailies acquisition and management. However, I started working with the filmmakers at the editorial stage, after the shoot was finished.

What kind of overall look/looks did the director and DP have in mind for the film, and how did they share that vision with you?
Theodosiou: Both the director Jonathan Jakubowicz and the director of photography Miguel Ioan Litten Menz were very hands-on. They supervised each session to make sure we created looks that best suited all the different time periods, as well as the variety of locations used in the production. The story involved multiple locations, including Panama, New York and Las Vegas.

Nearly every scene was shot on location to maintain authenticity, and it was important that we were true to the look and feel of each location. Jonathan and Miguel explained in detail what they wanted to achieve visually, so we created a unique look for each location.

kostas

Kostas Theodosiou

In addition, the story took us through many different time periods that spanned Roberto Duran’s life — from childhood through his entire career. Each time period also required a different treatment to establish its place in time. Every look we created had a purpose and is in the film for a reason. As a result, there are many different looks in this movie, but they all worked together to help tell the story.

You called on Resolve for this film. Can you talk about the tool and how it helps you in your work?
Theodosiou: Resolve is a great platform and allowed me to mix footage that was shot using a variety of different cameras, lenses and aspect ratios. The tools in Resolve helped me blend the footage seamlessly to enhance the filmmakers’ vision, and the results surpassed their expectations.

You mentioned that both the director and DP were in the room with you?
Theodosiou: Yes, Miguel and Jonathan were supervising the color correction from beginning to end. We all had great chemistry and worked together as a team. This was Jonathan’s passion project and he was very invested in the film, so he was deeply involved in the finishing process. And Miguel flew in from Chile to make sure he was here with us.

In the final stages of making the film, additional scenes were added and both filmmakers returned to FotoKem to work with me to make sure the new extended scenes fit in with the mood they were trying to portray. It was a very hands-on experience.

Now let’s hear from DP Miguel Ioan Litten Menz:

What were your first meetings like with Kostas?
Littin Menz: I was very pleased to hear that the color correction was to be done at FotoKem in Los Angeles. We chose Kostas because of his background — he’s worked for Paul Thomas Anderson; Robert Elswit, ASC; Christopher Nolan; and Hoyte van Hoytema, ASC. Since the first meeting, the connection and conversation about aesthetic was immediately understood. Our ideas and feelings about how to adjust the palette of colors for the final look of the film were in sync. He did marvelous work.

director-and-dp

Jonathan Jakubowicz and Miguel Ioan Littin Menz.

What was the general overall look the director had in mind for the film and how did he communicate that to you?
Littin Menz: In general, Jonathan talked about creating different looks between Panama and New York, and at the same time creating a look where you can feel an epic and intimate story at the same time. We want the audience to feel the wild, powerful and sensual colors around Roberto Durán’s life in Panama, and more plain, elegant and sober colors around Ray Arcel’s life in New York. In our research, we looked at thousands of photographs from sports magazines from that period, and also many documentaries.

And for my personal research, I again read Norman Mailer’s book “The Fight” and Jack London’s “The Mexican.”

How would you describe the different looks and feel of the film — decade by decade, location by location?
Littin Menz: I worked very closely with Tomás Voth, the production designer, who did amazing work. We described two very different worlds — Duran’s life in Panama and Ray Arcel’s in New York — so as a general concept we tried to create eclectic and powerful palates of colors for Duran’s life, to mimic his real personality.

For Ray Arcel, we used colors that were more serene and elegant, like he was throughout his entire life. Sometimes I used warm colors to evoke nostalgic times for Ray Arcel, and sometimes cool colors appeared in the sad times for both Duran and Arcel. Decade by decade, from the ‘60s to the ‘80s, we created different looks for timeline reasons but also as part of the intimate space for each character.

What cameras did you use, and why did you opt for three different ones? How did that affect the look and the grade?
Littin Menz: We relied on two Alexa XTs, one Alexa M and three Blackmagic cameras for VFX purposes. One of the Alexas, the B camera, was always prepared for the Steadicam. The C camera and the Alexa M were used for the fights. Also, we used Anamorphic Hawk V Lite Lenses. Kostas was thorough in making sure everything from the different shoots matched.

Can you talk about the shoot? Was there a DIT? If so, what role did they play? And what kind of on-set monitors were you using?
Littin Menz: The DIT was there mostly for making the back-ups and dailies. It was a lot of material every day. We also created LUTs for some scenes. The monitors were Asus VS197D-P 18.5-inch for video assist and a Flanders Scientific for the DIT station.

Was there anything unique or challenging about it that you are particularly proud of?
Littin Menz: On the technical side, it was very challenging to reproduce the big spaces and fights, in places like the Madison Square Garden in New York through three decades, the Olympic Stadium in Montreal and the Superdome in New Orleans, but I think we did it successfully.

Some of my favorite scenes were those of Durán when he was a kid in “El Chorrillo,” the poor neighborhood where he lived. We never forgot that the principal idea for the film was to tell the story through the clear and transparent eyes of that child — the story of a child who came from one of poorest neighborhoods of Latin America and became a world champion. I’m very proud to have been a part of this project.

Review: Microsoft Surface Pro 4 running Resolve 12.5

By Brady Betzel

Not long ago, I was asked if I wanted to check out Blackmagic’s DaVinci Resolve 12.5 on a Microsoft Surface Pro 4. I was dubious, and wondered, “Do they really think I can edit, color correct, and deliver footage on a tablet?”

I was incredulous. I really thought this seemed like a pipe dream for Microsoft and Blackmagic. Everyone who works in post knows that you need a pretty monstrous workstation to play, let alone edit, media. Especially media with resolutions over 1920×1080 and 10-bit color! Well, let’s see how all of that played out.

Thankfully, I received the higher-end version of the Microsoft Surface Pro 4 tablet. Under the hood it was packing a dual-core 2.2 GHz Intel i7, 6650U CPU, 8GB RAM, NVMe Samsung MZFLV256 (256GB SSD) and an Intel Iris graphics 540 GPU. The display sports a beautiful 3:2 aspect ratio at 2736×1824 resolution; not quite the UHD 16:9/1.78:1 or true 4
K 1.9:1 aspect ratio that would be comfortable when working in video, but it’s not bad. Keep in mind that when working with high-resolution displays like an Apple Retina 5K or this Surface Pro 4, some apps will be hard to read even with the scaling bumped up.

Resolve looks great, but the words and icons might be a bit smaller than what you are used to seeing. The Surface Pro 4 weighs an incredibly light 1.73 pounds, measures 11.5×7.93x.33 inches and has the best stand I’ve ever used on a tablet. This is a big pet peeve of mine – terrible tablet stands — but the Surface sports a great one. I am on the go a lot, so I need a sturdy stand that, preferably, is attached. The Surface has the stand every other tablet manufacturer should copy.

I use Wacom products, so I am used to working with a great stylus, therefore, I didn’t have high expectations for the pen included with the Surface Pro. Boy, I was wrong! I was I happily surprised at how nice it was. While it doesn’t have the 2,048 levels of pressure sensitivity present in the Wacom products that you might be used to, it does have 1,024, with great palm rejection. The weight of the pen was great — like really great — and it mounts on the side of the Surface by a strong magnet.

Aside from the mouse and stylus, the Surface Pro 4 has a 10-point touchscreen, but I didn’t use it very much. I found myself defaulting to the stylus when I wanted to interact directly on the screen, like in Photoshop or adjusting curves inside Resolve. Last, but not least, is the tremendous battery life. I was constantly running Resolve as well as playing music from Spotify and Pandora and the battery would last me most of the day. Once I got into heavy grading where I pumped up the brightness, the battery life went to lasting under two to four hours, which I think is still great.

Resolve
Ok, enough gloating about the Surface hardware and onto the real test: Blackmagic’s DaVinci Resolve 12.5 running on a tablet!

Right off the bat — and as you’ve probably already surmised — I’m going to tell you that the Surface 4 Pro is not going to stand up to a powerhouse like the HP z840 with 64GB of RAM and an Nvidia Quadro M6000. But, what I found the Surface Pro 4 excelling at was proxy-based workflows and simple color matching.

You won’t be able to play 4K clips that cleanly, but the Surface 4 Pro and Resolve will allow you to color correct, grade, add a few nodes for things, such as a vignette or qualifier, and even export your grade. But if I were you and wanted to use the Surface Pro appropriately, a nice simple color balance will run great.

Essentially. the Surface Pro is a great way to travel and grade your footage thanks to Intel’s pretty amazing Iris graphics technology. You should really check out Intel’s backstory on how one of their engineers went to NAB 2015 and talked with the Blackmagic crew and figured out what he needed to do to get Intel-based GPUs to work with Resolve. Check this out. Regardless of whether or not there is hyperbole in that video, it is very true that almost anybody can run Resolve, whether you are on a Surface or an Intel-powered desktop.

Oh, don’t forget that for many people, the free version of Resolve will be all they need. Resolve is an amazing nonlinear editor and professional-level color correction software available at anyone’s fingertips for free. This is a fact that cannot be understated.

Testing
To test the Surface 4 Pro, I found some Red 5K footage that I scaled down to 1920×1080 in a 1920×1080 23.976 project, did a simple edit, colored and exported a final QuickTime. When I had the debayer set all the way to full resolution, my Surface started to crawl (crawl would be the polite term — in fact, it was more like melt. This is why I suggest the proxy workflow. However, when I played back at ¼, more so at ⅛, I was actually able to work. I was running around 10 to 12 frames per second. While I know 12fps isn’t the best playback for a 23.976 5K clip at 1920×1080 resolution, it let me do my job while on the go. I like to call it the “Starbuck’s Test.” If I need more than that I definitely should be at home using a HP z840, or DIY custom-built 4K workhorse, which I am looking to build.

If you really want to get the Surface to sing in Resolve 12.5, you should stick to 1920×1080 resolution footage or smaller. With a couple of serial nodes I was able to consistently get 15fps playback. Yeah, I know this isn’t ideal, but if I’m on the run and can’t use a workstation with dual Nvidia Titans or GTX1080 GPUs, 64GB DDR5 RAM, running footage off a Thunderbolt 3 external SSD RAID (a set-up that would cost north of $5K), the Microsoft Surface Pro 4 is a great alternate solution.

Something that is tough to deal with on the Surface is the small text and icon size in Windows 10. While there might be a way to fix it using registry key hacks, I don’t want to do that. I want to set it and forget it. For all I know, there is a way to make the text the right size, but I couldn’t find it easily.

There has to be a way this can be fixed, right? If you know of a true fix let me know on Twitter @allbetzroff. I would really love to know. I tried bumping up the icon/text zoom within Resolve and messing around with the zoom in the Window’s Control Panel, with no luck.

Another issue with using a tablet to color correct and grade is the lack of elegance and fluidity that professional color correction panels allow. If you do color at any sort of professional level you should probably have at the very least something like the Tangent Ripple or Element panels. Using a touch screen, mouse and/or stylus to edit and color correct gets old fast on a tablet.

Using the Tangent Ripple, which is surprisingly portable, I felt the elegance I know and love when using Resolve with a panel. (I will be doing a Tangent Ripple review later for some more in-depth analysis). I did love the ability to use the stylus to get in and fine-tune Power Windows and curves in Resolve, but you will definitely need some extra equipment if you find yourself doing more than a couple adjustments — much like any computer, and not just the Surface.

Summing Up
In the end, the Microsoft Surface Pro 4 (my version goes for around $1,600) is an exceptional tablet. I love isurface-pro-4-portst. In addition to running Resolve 12.5. I also installed the Adobe Suite of tools and did some editing in Premiere, effects in After Effects, transcoding in Media Encoder and even round-tripped my sequence between Resolve and Premiere.

The Surface Pro 4 is a great “away-from-home” computer to run very high-end apps like Resolve 12.5, Premiere Pro CC, and even apps like After Effects with hard core plug-ins like Imagineer System’s Mocha Pro 5.

While the touchscreen and stylus are great for occasional use, you should plan on investing in something like the Tangent Ripple color panel if you will be coloring a ton in Resolve or any other app — it’s even priced well at $350.

From the amazing battery life to the surprisingly snappy response of the Intel Iris 540 GPU inside of pro video editing and color correcting apps like Resolve, the Microsoft Surface Pro 4 is the Windows tablet you need in your mobile multimedia creator life.


Brady Betzel is an online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Earlier this year, Brady was nominated for an Emmy for his work on Disney’s Unforgettable Christmas Celebration.

MPC LA moves to Culver City location, expands MPC Film

After eight years in Santa Monica, MPC LA has moved to a 25,000-square-foot digital studio in Culver City at 8921 Lindblade Street.

MPC Advertising now has more space dedicated to VFX, color and finishing. The new space also plays host to a purpose-built VR/AR infrastructure and its content production arm, MPC Creative.

MPC Film LA has a greatly expanded footprint in the new facility, offering filmmakers the opportunity to collaborate with MPC’s artists to support the pre-production phase of development. Creative services include concept and production design, previs and visual development, and preliminary bidding and budgeting.

Julian Levi, the newly promoted GM at MPC Film LA, says, “We are excited to be able to continue collaborating with filmmakers in the very early stages of production. Having all of our front-end resources consolidated in the new studio means our clients can take advantage of MPC LA’s creative services all in one space.”

The space features an MPAA approved previs artist workspace and a screening room with 3D stereo, HD and 2K/4K projection, offering 2K synced reviews, TV-IPS video feed and video conferencing.

VFX industry veteran Joanna Capitano (right) has also joined the team at MPC Film LA, overseeing and representing the studio’s VFX supervisor talent, including Richard Stammers, Erik Nash and Guillaume Rocheron. Capitano was most recently VP of features at Digital Domain.

In discussing the move, MPC’s global CEO, Mark Benson, explains, “Culver City presented a unique opportunity to build out our custom-designed, integrated studio in a 25,000-square-foot space. It is a great fit because Culver City is fast becoming Los Angeles’ hotbed of emerging technology, and it’s located off the 10 freeway and Metro Expo line, making it convenient for our clients.”

MPC Film previs/postvis teams are currently working on Ghost in the Shell, Fantastic Beasts, Alien Covenant and The Dark Tower.

 

Liam Ford joins Post FactoryNY as CTO

Post FactoryNY has named Liam Ford as chief technology officer. Ford, who has more than a decade of post engineering and IT experience, was most recently VP of technology at Company 3, New York. At Post FactoryNY, Ford will oversee planned expansion of color grading and finishing services for theatrical and television projects.

Ford originally joined Company 3 as a DI systems manager in 2004. He was promoted to director of technology in 2010 and to VP of technology in 2013. In the latter role, he had oversight for technology operations at facilities in New York and Atlanta. He began his career with Title House in Hollywood.

“We want to provide film and television producers with a premium finishing experience, so that they can focus on content and story knowing that we’ve got the rest of the post process handled,” says Ford. “My role is to craft a technology environment that is tailored to the very unique needs of filmmakers and their projects.”

Dave Cole joins FotoKem as senior colorist

FotoKem has hired Dave Cole as senior colorist, strengthening its DI talent offerings. One of Cole’s first projects for Burbank-based FotoKem, will be Legendary’s upcoming Kong: Skull Island.

Cole’s career began in his native Australia, where he was a telecine operator and technical director, quickly segueing to colorist. His early work includes collaborating with director Peter Jackson and cinematographer Andrew Lesnie, ASC, on color for The Lord of the Rings: The Fellowship of the Ring in 2001 at The PostHouse AG and King Kong in 2004 at Weta Digital.

In 2006, he moved to Los Angeles and joined LaserPacific Media where he was colorist on the Oscar-nominated Ides of March, The Savages, Tron: Legacy, the Alvin and the Chipmunks series, and the Best Cinematography Academy Award-winning Life of Pi.

Most recently, at Modern VideoFilm, Cole was supervising colorist on titles such as The Book of Life, Eye in the Sky, Alvin and the Chipmunks: The Road Chip, An Ordinary Man and created looks for TV series such as Sleepy Hollow, Reign and Scorpion.

In addition to his colorist duties, Cole has been helping in the development of emerging HDR technologies for manufacturers and studios, as well as providing HDR grading for several major home theater releases.

Cole joins a colorist FotoKem team that includes Alastor Arnold, John Daro, Mark Griffith, George Koran, Kostas Theodosiou and Walter Volpatto. These colorists have worked on such titles as San Andreas, The Boxtrolls, Palo Alto, The D Train, Interstellar, The Conjuring 2, Independence Day: Resurgence and Central Intelligence. The team calls on Blackmagic DaVinci Resolve and SGO’s Mistika.

SIM Digital, Bling and Chainsaw under one roof

Earlier this month, SIM Group opened the doors to its newly completed West Coast headquarters, which houses SIM Digital, Bling Digital and Chainsaw. It’s located on the historic Eastman Kodak campus in Hollywood.

“We’ve got everything a production needs under one roof,” says SIM Group chief strategy officer James Martin. “You can prep and test cameras and lenses on the first floor, and the rest of the building can handle every aspect of post, from dailies and editorial offices all the way through final color and deliverables.”

This new space represents a big expansion of SIM’s camera rental business in Los Angeles. SIM Digital offers an extensive inventory of digital camera systems and related gear, internal space for camera testing and preparation, and multiple loading docks for streamlined fulfillment. All prep bays have fiber connectivity to the second and third floor where workflow specialist Bling Digital and post services provider Chainsaw live.

Resources include dailies processing, quality control, editorial finishing, color grading, visual effects, sound mixing and deliverables, as well as a new theatre that includes a 4K Christie projector. The first shows to prep in the new space include American Horror Story and Just Add Magic.

The new complex’s networking and storage infrastructure includes nearly one million feet of fiber and copper cabling and can accommodate productions of all sizes, including working in 4K, HDR and beyond. “We’ve built an open pipe that can handle the challenges of today and prepares us for the future. When new technology becomes available, we’ll be able to plug it right in. As the industry moves beyond 4K, we’ll be ready,” says SIM Group president of post and Chainsaw founder Bill DeRonde.

We recently followed up with DeRonde to find out more.

Can you talk about the thought process behind co-locating your three brands, and how you will keep them connected but separate as well?
Chainsaw, Bling and Sim Digital are independent companies. By combining the workforces into one location we are able to offer our clients control over their entire image chain and build a dynamic workflow amongst our groups.

SIM Digital’s camera prep bays are connected to both Bling’s dailies’ workstations and Chainsaw’s final color bays. This allows cinematographers to conduct tests, set looks and be immediately able to see the results in our facility. With the advent of new technologies, like HDR, it is more important than ever to understand how images flow from the camera all the way through final delivery.

Our concept-to-completion offering allows our three distinct teams the opportunity to collaborate yet maintain their professional identities and gives clients one point of contact all the way through their production. Although more and more shows are gravitating towards our complete cameras-through-post service offering, SIM Group will continue to offer the flexibility of a la carte services to satisfy client needs and respect and nurture those relationships.

SIM Group now has a presence across the US, as well as Canada. How do you walk that line between growing just enough but not too much? 
The SIM group teams work very hard to maintain extremely high levels of client services. As we work together and continue to grow, we will make every effort to maintain both our personal levels in client relationships and our boutique feel as vendors. Our “college campus” feel across all our locations promotes collaboration. Our staff across all cities and services love to feel connected, and it’s this enthusiasm and dedication that has allowed us to maintain the identity of a high-end boutique shop but with the ability to service shows no matter where they want to shoot or post.

Our plan is to continue our measured and organic growth.The industry is more nomadic than ever, and we’ve expanded our service line and geographic reach due mainly to our clients’ requests to provide our expertise across major production and post production centers throughout North America.

Main Image: The DI Theater.

Nutmeg Post rebrands as Nutmeg, expands creative services

Nutmeg Post has rebranded its company to Nutmeg, a creative marketing, production and post company. With the expanded portfolio of services, Nutmeg now develops advertising, promotional and original content from concept through production to ultimate completion. They are also focusing on interactive, identity and social media projects.

“The new brand represents the future,” says Nutmeg managing director Jon Adelman. “We’ve always been known for our creative expertise. Those services have grown, matured and proven so successful that we are now a full-fledged creative partner. Our new interactive division adds services that were missing from our toolbox.”

Founded in 1979, Nutmeg has remained independently owned and has thrived in an industry that can be tough on post houses. The studio started as an sound house, but over the years added mixing and post services, building out its other post offerings to include color grading and visual effects.

Leading Nutmeg’s new initiatives are creative director Dave Rogan, an industry vet with two decades of broadcast, digital, packaging, print and corporate branding experience, and interactive executive producer David Buivid, a digital marketing strategist who has guided the creation of work in entertainment, consumer packaged goods, B2B and technology verticals.

“Nutmeg is known for our post work,” says Rogan, “but we are so much more now, with agency-grade creative development, production and interactive, along with all aspects of post production.”

Colorist Society International names Dale Grahn as Fellow

Steven Spielberg’s color timer, Dale Grahn, has been named a Fellow of Colorist Society International (CSI). With hundreds of major film credits including, Saving Private Ryan, War of the Worlds, Minority Report, Gladiator and Predator, Grahn has shaped much of the look of modern cinema, working with, in addition to Spielberg, Francis Ford Coppola, Martin Scorsese, and cinematographers Janusz Kamiński, Michael Ballhaus and John Mathieson.

“CSI is very exciting,” said Grahn. “CSI will help to change the way the industry views the colorist. This is the single best thing that could happen to the industry and the colorist, but the best part for me is that I will be able to work with CSI leadership in this very important addition to the industry and the art of the craft.”

Colorist Society International is devoted exclusively to furthering and honoring the professional achievements of the colorist community. CSI gives voice for the professional colorist in the film and digital entertainment industry, and promotes the creative art and science of color grading, restoration and finishing.

Motion picture and television colorists Jim Wicks and Kevin Shaw founded colorist Society International, a paid membership organization, which will seek to increase the entertainment value of film and digital projects by attaining artistic pre-eminence and scientific achievement in the creative art of color and to bring into close alliance those color artists who desire to advance the prestige and dignity of the color profession.

Rushes promotes Simona Cristea to head of creative color

After three years working as a senior colorist at Deluxe’s Rushes in London, Simona Cristea has been upped to head of creative color. She started her career at Abis Studios in Bucharest, her native country, and moved to London in 2005 where she has worked at Prime Focus, Technicolor, Reliance MediaWorks and Smoke & Mirrors. During her career Cristea, has worked on hundreds of major international campaigns, with directors such as Mert & Marcus, Sam Taylor-Wood, Trevor Robinson, Nick Knight and Rankin.

“Simona is my go-to colorist,” says Rankin. “With her wonderful personality and innate ability to enhance my work, her meticulous attention to detail makes her an integral part of my post production process. Simona is incredibly talented and hard working at creating beautiful cinematic looks each time. Her outstanding eye for color is evidenced by her body of work.”

Nike

Nike

Cristea — who uses Blackmagic’s DaVinci Resolve with Dolby monitors — has recently worked on campaigns for Nike, Gillette, Geox, Armani and Honda.  She is part of a color team that includes Marty McMullan and Denny Cooper.