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Category Archives: Color Grading

Company 3 buys Sixteen19, offering full-service post in NYC

Company 3 has acquired Sixteen19, a creative editorial, production and post company based in New York City. The deal includes Sixteen19’s visual effects wing, PowerHouse VFX, and a mobile dailies operation with international reach.

The acquisition helps Company 3 further serve NYC’s booming post market for feature film and episodic TV. As part of the acquisition, industry veterans and Sixteen19 co-founders Jonathan Hoffman and Pete Conlin, along with their longtime collaborator, EVP of business development and strategy Alastair Binks, will join Company 3’s leadership team.

“With Sixteen19 under the Company 3 umbrella, we significantly expand what we bring to the production community, addressing a real unmet need in the industry,” says Company 3 president Stefan Sonnenfeld. “This infusion of talent and infrastructure will allow us to provide a complete suite of services for clients, from the start of production through the creative editing process to visual effects, final color, finishing and mastering. We’ve worked in tandem with Sixteen19 many times over the years, so we know that they have always provided strong client relationships, a best-in-class team and a deeply creative environment. We’re excited to bring that company’s vision into the fold at Company 3.”

Sonnenfeld will continue to serve as president of Company 3, and oversee operations of Sixteen19. As a subsidiary of Deluxe, Company 3 is part of a broad portfolio of post services. Bringing together the complementary services and geographic reach of Company3, Sixteen19 and Powerhouse VFX, will expand Company 3’s overall portfolio of post offerings and reach new markets in the US and internationally.

Sixteen19’s New York location includes 60 large editorial suites; two 4K digital cinema grading theaters; and a number of comfortable spaces, open environments and many common areas. Sixteen19’s mobile dailies services will add a perfect companion to Company 3’s existing offerings in that arena. PowerHouse VFX includes dedicated teams of experienced supervisors, producers and artists in 2D and 3D visual effects and compositing.

“The New York film community initially recognized the potential for a Company 3 and Sixteen19 partnership,” says Sixteen19’s Hoffman. “It’s not just the fact that a significant majority of the projects we work on are finished at Company 3, it’s more that our fundamental vision about post has always been aligned with Stefan’s. We value innovation; we’ve built terrific creative teams; and above all else, we both put clients first, always.”

Sixteen19 and Powerhouse VFX will retain their company names.

Behind the Title: Mission’s head of digital imaging, Pablo Garcia Soriano

NAME: Pablo Garcia Soriano (@pablo.garcia.soriano)

COMPANY: UK-based Mission (@missiondigital)

CAN YOU DESCRIBE YOUR COMPANY?
Mission is a provider of DIT and digital lab services based in London, with additional offices in Cardiff, Rome, Prague and Madrid. We process and manage media and metadata, producing rich deliverables with as much captured metadata as possible — delivering consistency and creating efficiencies in VFX and post production.

WHAT’S YOUR JOB TITLE?
Head of Digital Imaging

WHAT DOES THAT ENTAIL?
I work with cinematographers to preserve their vision from the point of capture until the final deliverable. This means supporting productions through camera tests, pre-production and look design. I also work with manufacturers, which often means I get an early look at new products.

Mission

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
It sounds like a very technical job, but it’s so much more than engineering — it’s creative engineering. It’s problem solving and making technical complexities seem easy to a creative person.

WHAT’S YOUR FAVORITE PART OF THE JOB?
I love working with cinematographers to help them achieve their vision and make sure it is preserved through post. I also enjoy being able to experiment with the latest technology and have an influence on products. Recently, I’ve been involved with growing Mission’s international presence with our Madrid office, which is particularly close to my heart.

WHAT’S YOUR LEAST FAVORITE?
Sometimes I get to spend hours in a dark room with a probe calibrating monitors. It’s dull but necessary!

WHAT IS YOUR MOST PRODUCTIVE TIME OF THE DAY?
In the early to mid-morning after two coffees. Also at the end of the day when the office is quieter.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Gardening… or motor racing.

WHY DID YOU CHOOSE THIS PROFESSION?
I feel like it chose me. I’m an architect by training, but was a working musician until around the age of 28 when I stepped down from the stage and started as a freelancer doing music promos. I was doing a bit of everything on those, director, editor, finishing, etc. Then I was asked to be the assistant editor on two films by a colleague whom I was sharing and office with.

After this experience (and due to the changes the music industry was going through), I decided to focus fully on editing several documentaries, short films. I then ended up on a weekly TV show where I was in charge of the final assembly. This is where I started paying attention to continuity and the overall look. I was using Apple Final Cut and Apple Color, which I loved. All of this happened in a very organic way and I was always self-taught.

I didn’t take studying seriously until I met the DP Rafa Roche, AEC, on our first film together around the age of 31. Rafa mentored me, teaching me all about cameras, lenses, filters and filled my brain with curiosity about all the technical stuff (signal, codecs, workflows). From there to now it all has been a bit of a rollercoaster with some moments of real vertigo caused by how fast it all has developed.

Downton Abby

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
We work on a lot of features and television in the UK and Europe — recent projects include Cats, Downton Abbey, Cursed and Criminal.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
In 2018, I was the HDR image supervisor for the World Cup in Moscow. Knowing the popularity of football and working on a project that would be seen by so many people around the world was truly an honor, despite the pressure!

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
A good reference monitor, a good set of speakers and Spotify.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
Yes, music is a huge part of my life. I have very varied taste. For example, I enjoy Wilco, REM and Black Sabbath.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I like to walk by the River Thames in Hammersmith, London, near where I live.

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FilmLight sets speakers for free Color On Stage seminar at IBC

At this year’s IBC, FilmLight will host a free two-day seminar series, Color On Stage, on September 14 and 15. The event features live presentations and discussions with colorists and other creative professionals. The event will cover topics ranging from the colorist today to understanding color management and next-generation grading tools.

“Color on Stage offers a good platform to hear about real-world interaction between colorists, directors and cinematographers,” explains Alex Gascoigne, colorist at Technicolor and one of this year’s presenters. “Particularly when it comes to large studio productions, a project can take place over several months and involve a large creative team and complex collaborative workflows. This is a chance to find out about the challenges involved with big shows and demystify some of the more mysterious areas in the post process.”

This year’s IBC program includes colorists from broadcast, film and commercials, as well as DITs, editors, VFX artists and post supervisors.

Program highlights include:
•    Creating the unique look for Mindhunter Season 2
Colorist Eric Weidt will talk about his collaboration with director David Fincher — from defining the workflow to creating the look and feel of Mindhunter. He will break down scenes and run through color grading details of the masterful crime thriller.

•    Realtime collaboration on the world’s longest running continuing drama, ITV Studios’ Coronation Street
The session will address improving production processes and enhancing pictures with efficient renderless workflows, with colorist Stephen Edwards, finishing editor Tom Chittenden and head of post David Williams.

•    Looking to the future: Creating color for the TV series Black Mirror
Colorist Alex Gascoigne of Technicolor will explain the process behind grading Black Mirror, including the interactive episode Bandersnatch and the latest Season 5.

•    Bollywood: A World of Color
This session will delve into the Indian film industry with CV Rao, technical general manager at Annapurna Studios in Hyderabad. In this talk, CV will discuss grading and color as exemplified by the hit film Baahubali 2: The Conclusion.

•    Joining forces: Strengthening VFX and finishing with the BLG workflow
Mathieu Leclercq, head of post at Mikros Image in Paris, will be joined by colorist Sebastian Mingam and VFX supervisor Franck Lambertz to showcase their collaboration on recent projects.

•    Maintaining the DP’s creative looks from set to post
Meet with French DIT Karine Feuillard, ADIT — who worked on the latest Luc Besson film Anna as well as the TV series The Marvelous Mrs Maisel — and FilmLight workflow specialist Matthieu Straub.

•    New color management and creative tools to make multi-delivery easier
The latest and upcoming Baselight developments, including a host of features aimed to simplify delivery for emerging technologies such as HDR. With FilmLight’s Martin Tlaskal, Daniele Siragusano and Andy Minuth.

Color On Stage will take place in Room D201 on the second floor of the Elicium Centre (Entrance D), close to Hall 13. The event is free to attend but spaces are limited. Registion is available here.


Harbor expands to LA and London, grows in NY

New York-based Harbor has expanded into Los Angeles and London and has added staff and locations in New York. Industry veteran Russ Robertson joins Harbor’s new Los Angeles operation as EVP of sales, features and episodic after a 20-year career with Deluxe and Panavision. Commercial director James Corless and operations director Thom Berryman will spearhead Harbor’s new UK presence following careers with Pinewood Studios, where they supported clients such as Disney, Netflix, Paramount, Sony, Marvel and Lucasfilm.

Harbor’s LA-based talent pool includes color grading from Yvan Lucas, Elodie Ichter, Katie Jordan and Billy Hobson. Some of the team’s projects include Once Upon a Time … in Hollywood, The Irishman, The Hunger Games, The Maze Runner, Maleficent, The Wolf of Wall Street, Snow White and the Huntsman and Rise of the Planet of the Apes.

Paul O’Shea, formerly of MPC Los Angeles, heads the visual effects teams, tapping lead CG artist Yuichiro Yamashita for 3D out of Harbor’s Santa Monica facility and 2D creative director Q Choi out of Harbor’s New York office. The VFX artists have worked with brands such as Nike, McDonald’s, Coke, Adidas and Samsung.

Harbor’s Los Angeles studio supports five grading theaters for feature film, episodic and commercial productions, offering private connectivity to Harbor NY and Harbor UK, with realtime color-grading sessions, VFX reviews and options to conform and final-deliver in any location.

The new UK operation, based out of London and Windsor, will offer in-lab and near-set dailies services along with automated VFX pulls and delivery through Harbor’s Anchor system. The UK locations will draw from Harbor’s US talent pool.

Meanwhile, the New York operation has grown its talent roster and Soho footprint to six locations, with a recently expanded offering for creative advertising. Veteran artists on the commercial team include editors Bruce Ashley and Paul Kelly, VFX supervisor Andrew Granelli, colorist Adrian Seery, and sound mixers Mark Turrigiano and Steve Perski.

Harbor’s feature and episodic offering continues to expand, with NYC-based artists available in Los Angeles and London.


GLOW’s DP and colorist adapt look of new season for Vegas setting

By Adrian Pennington

Netflix’s Gorgeous Ladies of Wrestling (GLOW) are back in the ring for a third round of the dramatic comedy, but this time the girls are in Las Vegas. The glitz and glamour of Sin City seems tailor-made for the 1980s-set GLOW and provided the main creative challenge for Season 3 cinematographer Chris Teague (Russian Doll, Broad City).

DP Chris Teague

“Early on, I met with Christian Sprenger, who shot the first season and designed the initial look,” says Teague, who was recently nominated for an Emmy for his work on Russian Doll. “We still want GLOW to feel like GLOW, but the story and character arc of Season 3 and the new setting led us to build on the look and evolve elements like lighting and dynamic range.”

The GLOW team is headlining the Fan-Tan Hotel & Casino, one of two main sets along with a hotel built for the series and featuring the distinctive Vegas skyline as a backdrop.

“We discussed compositing actors against greenscreen, but that would have turned every shot into a VFX shot and would have been too costly, not to mention time-intensive on a TV schedule like ours,” he says. “Plus, working with a backdrop just felt aesthetically right.”

In that vein, production designer Todd Fjelsted built a skyline using miniatures, a creative decision in keeping with the handcrafted look of the show. That decision, though, required extensive testing of lenses, lighting and look prior to shooting. This testing was done in partnership with post house Light Iron.

“There was no overall shift in the look of the show, but together with Light Iron, we felt the baseline LUT needed to be built on, particularly in terms of how we lit the sets,” explains Teague.

“Chris was clear early on that he wanted to build upon the look of the first two seasons,” says Light Iron colorist Ian Vertovec. “We adjusted the LUT to hold a little more color in the highlights than in past seasons. Originally, the LUT was based on a film emulation and adjusted for HDR. In Season 1, we created a period film look and transformed it for HDR to get a hybrid film emulation LUT. For Season 3, for HDR and standard viewing, we made tweaks to the LUT so that some of the colors would pop more.”

The show was also finished in Dolby Vision HDR. “There was some initial concern about working with backdrops and stages in HDR,” Teague says. “We are used to the way film treats color over its exposure range — it tends to desaturate as it gets more overexposed — whereas HDR holds a lot more color information in overexposure. However, Ian showed how it can be a creative tool.”

Colorist Ian Vertovec

“The goal was to get the 1980s buildings in the background and out the hotel windows to look real — emulating marquees with flashing lights,” adds Vertovec. “We also needed it to be a believable Nevada sky and skyline. Skies and clouds look different in HDR. So, when dialing this in, we discussed how they wanted it to look. Did it feel real? Is the sky in this scene too blue? Information from testing informed production, so everything was geared toward these looks.”

“Ian has been on the first two seasons, so he knows the look inside and out and has a great eye,” Teague continues. “It’s nice to come into a room and have his point of view. Sometimes when you are staring at images all day, it’s easy to lose your objectivity, so I relied on Ian’s insight.” Vertovec grades the show on FilmLight’s Baselight.

As with Season 2, GLOW Season 3 was a Red Helium shoot using Red’s IPP2 color pipeline in conjunction with Vertovec’s custom LUTs all the way to post. Teague shot full 8K resolution to accommodate his choice of Cooke anamorphic lenses, desqueezed and finished in a 2:1 ratio.

“For dailies I used an iPad with Moxion, which is perhaps the best dailies viewing platform I’ve ever worked with. I feel like the color is more accurate than other platforms, which is extremely useful for checking out contrast and shadow level. Too many times with dailies you get blacks washed out and highlights blown and you can’t judge anything critical.”

Teague sat in on the grade of the first three of the 10 episodes and then used the app to pull stills and make notes remotely. “With Ian I felt like we were both on the same page. We also had a great DIT [Peter Brunet] who was doing on-set grading for reference and was able to dial in things at a much higher level than I’ve been able to do in the past.”

The most challenging but also rewarding work was shooting the wrestling performances. “We wanted to do something that felt a little bigger, more polished, more theatrical,” Teague says. “The performance space had tiered seating, which gave us challenges and options in terms of moving the cameras. For example, we could use telescoping crane work to reach across the room and draw characters in as they enter the wrestling ring.”

He commends gaffer Eric Sagot for inspiring lighting cues and building them into the performance. “The wrestling scenes were the hardest to shoot but they’re exciting to watch — dynamic, cinematic and deliberately a little hokey in true ‘80s Vegas style.”


Adrian Pennington is a UK-based journalist, editor and commentator in the film and TV production space. He has co-written a book on stereoscopic 3D and edited several publications.


Digital Arts expands team, adds Nutmeg Creative talent

Digital Arts, an independently owned New York-based post house, has added several former Nutmeg Creative talent and production staff members to its roster — senior producer Lauren Boyle, sound designer/mixers Brian Beatrice and Frank Verderosa, colorist Gary Scarpulla, finishing editor/technical engineer Mark Spano and director of production Brian Donnelly.

“Growth of talent, technology, and services has always been part of the long-term strategy for Digital Arts, and we’re fortunate to welcome some extraordinary new talent to our staff,” says Digital Arts owner Axel Ericson. “Whether it’s long-form content for film and television, or working with today’s leading agencies and brands creating dynamic content, we have the talent and technology to make all of our clients’ work engaging, and our enhanced services bring their creative vision to fruition.”

Brian Donnelly, Lauren Boyle and Mark Spano.

As part of this expansion, Digital Arts will unveil additional infrastructure featuring an ADR stage/mix room. The current facility boasts several state-of-the-art audio suites, a 4K finishing theater/mixing dubstage, four color/finishing suites and expansive editorial and production space, which is spread over four floors.

The former Nutmeg team has hit the ground running working their long-time ad agency, network, animation and film studio clients. Gary Scarpulla worked on color for HBO’s Veep and Los Espookys, while Frank Verderosa has been working with agency Ogilvy on several Ikea campaigns. Beatrice mixed spots for Tom Ford’s cosmetics line.

In addition, Digital Arts’ in-house theater/mixing stage has proven to be a valuable resource for some of the most popular TV productions, including recording recent commentary sessions for the legendary HBO series, Game of Thrones and the final season of Veep.

Especially noteworthy is colorist Ericson’s and finishing editor Mark Spano’s collaboration with Oscar-winning directors Karim Amer and Jehane Noujaim to bring to fruition the Netflix documentary The Great Hack.

Digital Arts also recently expanded its offerings to include production services. The company has already delivered projects for agencies Area 23, FCB Health and TCA.

“Digital Arts’ existing infrastructure was ideally suited to leverage itself into end-to-end production,” Donnelly says. “Now we can deliver from shoot to post.”

Tools employed across post are Avid Pro Tools, D Control ES, S3 for audio post and Avid Media Composer, Adobe Premiere and Blackmagic Resolve for editing. Color grading is via Resolve.

Main Image: (L-R) Frank Verderosa, Brian Beatrice and Gary Scarpulla

 


Blackmagic: Resolve 16.1 in public beta, updates Pocket Cinema Camera

Blackmagic Design has announced DaVinci Resolve 16.1, an updated version of its edit, color, visual effects and audio post software that features updates to the new cut page, further speeding up the editing process.

With Resolve 16, introduced at NAB 2019, now in final release, the Resolve 16.1 public beta is now available for download from the Blackmagic Design website. This new public beta will help Blackmagic continue to develop new ideas while collaborating with users to ensure those ideas are refined for real-world workflows.

The Resolve 16.1 public beta features changes to the bin that now make it possible to place media in various folders and isolate clips from being used when viewing them in the source tape, sync bin or sync window. Clips will appear in all folders below the current level, and as users navigate around the levels in the bin, the source tape will reconfigure in real time. There’s even a menu for directly selecting folders in a user’s project.

Also new in this public beta is the smart indicator. The new cut page in DaVinci Resolve 16 introduced multiple new smart features, which work by estimating where the editor wants to add an edit or transition and then applying it without the editor having to waste time placing exact in and out points. The software guesses what the editor wants to do and just does it — it adds the inset edit or transition to the edit closest to where the editor has placed the CTI.

But a problem can arise in complex edits, where it is hard to know what the software would do and which edit it would place the effect or clip into. That’s the reason for the beta version’s new smart indicator. The smart indicator provides a small marker in the timeline so users get constant feedback and always know where DaVinci Resolve 16.1 will place edits and transitions. The new smart indicator constantly live-updates as the editor moves around the timeline.

One of the most common items requested by users was a faster way to cut clips in the timeline, so now DaVinci Resolve 16.1 includes a “cut clip” icon in the user interface. Clicking on it will slice the clips in the timeline at the CTI point.

Multiple changes have also been made to the new DaVinci Resolve Editor Keyboard, including a new adaptive scroll feature on the search dial, which will automatically slow down a job when editors are hunting for an in point. The live trimming buttons have been renamed to the same labels as the functions in the edit page, and they have been changed to trim in, trim out, transition duration, slip in and slip out. The function keys along the top of the keyboard are now being used for various editing functions.

There are additional edit models on the function keys, allowing users to access more types of editing directly from dedicated keys on the keyboard. There’s also a new transition window that uses the F4 key, and pressing and rotating the search dial allows instant selection from all the transition types in DaVinci Resolve. Users who need quick picture picture-in in-picture effects can use F5 and apply them instantly.

Sometimes when editing projects with tight deadlines, there is little time to keep replaying the edit to see where it drags. DaVinci Resolve 16.1 features something called a Boring Detector that highlights the timeline where any shot is too long and might be boring for viewers. The Boring Detector can also show jump cuts, where shots are too short. This tool allows editors to reconsider their edits and make changes. The Boring Detector is helpful when using the source tape. In that case, editors can perform many edits without playing the timeline, so the Boring Detector serves as an alternative live source of feedback.

Another one of the most requested features of DaVinci Resolve 16.1 is the new sync bin. The sync bin is a digital assistant editor that constantly sorts through thousands of clips to find only what the editor needs and then displays them synced to the point in the timeline the editor is on. The sync bin will show the clips from all cameras on a shoot stacked by camera number. Also, the viewer transforms into a multi-viewer so users can see their options for clips that sync to the shot in the timeline. The sync bin uses date and timecode to find and sync clips, and by using metadata and locking cameras to time of day, users can save time in the edit.

According to Blackmagic, the sync bin changes how multi-camera editing can be completed. Editors can scroll off the end of the timeline and keep adding shots. When using the DaVinci Resolve Editor Keyboard, editors can hold the camera number and rotate the search dial to “live overwrite” the clip into the timeline, making editing faster.

The closeup edit feature has been enhanced in DaVinci Resolve 16.1. It now does face detection and analysis and will zoom the shot based on face positioning to ensure the person is nicely framed.

If pros are using shots from cameras without timecode, the new sync window lets them sort and sync clips from multiple cameras. The sync window supports sync by timecode and can also detect audio and sync clips by sound. These clips will display a sync icon in the media pool so editors can tell which clips are synced and ready for use. Manually syncing clips using the new sync window allows workflows such as multiple action cameras to use new features such as source overwrite editing and the new sync bin.

Blackmagic Pocket Cinema Camera
Besides releasing the DaVinci Resolve 16.1 public beta, Blackmagic also updated the Blackmagic Pocket Cinema Camera. Blackmagic not only upgraded the camera from 4K to 6K resolution, but it changed the mount to the much used Canon EF style. Previous iterations of the Pocket Cinema Camera used a Micro 4/3s mount, but many users chose to purchase a Micro 4/3s-to-Canon EF adapter, which easily runs over $500 new. Because of the mount change in the Pocket Cinema Camera 6K, users can avoid buying the adapter and — if they shoot with Canon EF — can use the same lenses.


London’s Cheat expands with color and finishing suites

London-based color and finishing house Cheat has expanded, adding three new grading and finishing suites, a production studio and a client lounge/bar space. Cheat now has four large broadcast color suites and services two other color suites at Jam VFX and No.8 in Fitzrovia and Soho, respectively. Cheat has a creative partnership with these studios.

Located in the Arthaus building in Hackney, all four of Cheat’s color suites have calibrated projection or broadcast monitoring and are equipped with cutting-edge hardware for HDR and working with 8K. Cheat was the first color company to complete a TV series in 8K on Netflix’s The End of The F***ing World in 2017. Having invested in improved storage and network infrastructure during this period, the facility is well-equipped to take on 8K and HDR projects.

Cheat uses Autodesk Flame for finishing and Blackmagic DaVinci Resolve for color grading.

The new HDR grading suite offers HDR mastering above 2,000 nits with a Flanders Scientific XM310K reference monitor that can master up to 3,000 nits. Cheat is also now a full-fledged Dolby Vision-certified mastering facility.

“Improving client experience was, of course, a key consideration in shaping the design of the renovation,” says Toby Tomkins, founder of Cheat. “The new color suite is our largest yet and comfortably seats up to 10 people. We designed it from the ground up with a raised client platform and a custom-built bias wall. This allows everyone to look at the same single monitor while grading and maintaining the spacious and relaxed feel of our other suites. The new lounge and bar area also offer a relaxing area for clients to feel at home.”


Dick Wolf’s television empire: his production and post brain trust

By Iain Blair

The TV landscape is full of scripted police procedurals and true crime dramas these days, but the indisputable and legendary king of that crowded landscape is Emmy-winning creator/producer Dick Wolf, whose name has become synonymous with high-quality drama.

Arthur Forney

Since it burst onto the scene back in 1990, his Law & Order show has spawned six dramas and four international spinoffs, while his “Chicago” franchise gave birth to another four series — the hugely popular Chicago Med, Chicago Fire and Chicago P.D. His Chicago Justice was cancelled after one season.

Then there’s his “FBI” shows, as well as the more documentary-style Cold Justice. If you’ve seen Cold Justice — and you should — you know that this is the real deal, focusing on real crimes. It’s all the more fascinating and addictive because of it.

Produced by Wolf and Magical Elves, the real-life crime series follows veteran prosecutor Kelly Siegler, who gets help from seasoned detectives as they dig into small-town murder cases that have lingered for years without answers or justice for the victims. Together with local law enforcement from across the country, the Cold Justice team has successfully helped bring about 45 arrests and 20 convictions. No case is too cold for Siegler, as the new season delves into new unsolved homicides while also bringing updates to previous cases. No wonder Wolf calls it “doing God’s work.” Cold Justice airs on true crime network Oxygen.

I recently spoke with Emmy-winning Arthur Forney, executive producer of all Wolf Entertainment’s scripted series (he’s also directed many episodes), about posting those shows. I also spoke with Cold Justice showrunner Liz Cook and EP/head of post Scott Patch.

Chicago Fire

Dick Wolf has said that, as head of post, you are “one of the irreplaceable pieces of the Wolf Films hierarchy.” How many shows do you oversee?
Arthur Forney: I oversee all of Wolf Entertainment’s scripted series, including Law & Order: Special Victims Unit, Chicago Fire, Chicago P.D., Chicago Med, FBI and FBI: Most Wanted.

Where is all the post done?
Forney: We do it all at NBCUniversal StudioPost in LA.

How involved is Dick Wolf?
Forney: Very involved, and we talk all the time.

How does the post pipeline work?
Forney: All film is shot on location and then sent back to the editing room and streamed into the lab. From there we do all our color corrections, which takes us into downloading it into Avid Media Composer.

What are the biggest challenges of the post process on the shows?
Forney: Delivering high-quality programming with a shortened post schedule.

Chicago Med

What are the editing challenges involved?
Forney: Trying to find the right way of telling the story, finding the right performances, shaping the show and creating intensity that results in high-quality television.

What about VFX? Who does them?
Forney: All of our visual effects are done by Spy Post in Santa Monica. All of the action is enhanced and done by them.

Where do you do the color grading?
Forney: Coloring/grading is all done at NBCUniversal StudioPost.

Now let’s talk to Cook and Patch about Cold Justice:

Liz and Scott, I recently saw the finale to Season 5 of Cold Justice. That was a long season.
Liz Cook: Yes, we did 26 episodes, so it was a lot of very long days and hard work.

It seems that there’s more focus than ever on drug-related cases now.
Cook: I don’t think that was the intention going in, but as we’ve gone on, you can’t help but recognize the huge drug problem in America now. Meth and opioids pop up in a lot of cases, and it’s obviously a crisis, and even if they aren’t the driving force in many cases, they’re definitely part of many.

L-R: Kelly Siegler, Dick Wolf, Scott Patch and Liz Cook. Photo by Evans Vestal Ward

How do you go about finding cases for the show?
Cook: We have a case-finding team, and they get the cases various ways, including cold-calling. We have a team dedicated to that, calling every day, and we get most of them that way. A lot come through agencies and sheriff’s departments that have worked with us before and want to help us again. And we get some from family members and some from hits on the Facebook page we have.

I assume you need to work very closely with local law agencies as you need access to their files?
Cook: Exactly. That’s the first part of the whole puzzle. They have to invite us in. The second part is getting the family involved. I don’t think we’d ever take on a case that the family didn’t want us to do.

What’s involved for you, and do you like being a showrunner?
Cook: It’s a tough job and pretty demanding, but I love it. We go through a lot of steps and stuff to get a case approved, and to get the police and family on board, and then we get the case read by one of our legal readers to evaluate it and see if there’s a possibility that we can solve it. At that point we pitch it to the network, and once they approve it and everyone’s on board, then if there are certain things like DNA and evidence that might need testing, we get all that going, along with ballistics that need researching, and stuff like phone records and so on. And it actually moves really fast – we usually get all these people on board within three weeks.

How long does it take to shoot each show?
Cook: It varies, as each show is different, but around seven or eight days, sometimes longer. We have a case coming up with cadaver dogs, and that stuff will happen before we even get to the location, so it all depends. And some cases will have 40 witnesses, while others might have over 100. So it’s flexible.

Cold Justice

Where do you post, and what’s the schedule like?
Scott Patch: We do it all at the Magical Elves offices here in Hollywood — the editing, sound, color correction. The online editor and colorist is Pepe Serventi, and we have it all on one floor, and it’s really convenient to have all the post in house. The schedule is roughly two months from the raw footage to getting it all locked and ready to air, which is quite a long time.

Dailies come back to us and we do our first initial pass by the story team and editors, and they’ll start whittling all the footage down. So it takes us a couple of weeks to just look at all the footage, as we usually have about 180 hours of it, and it takes a while to turn all that into something the editors can deal with. Then it goes through about three network passes with notes.

What about dealing with all the legal aspects?
Patch: That makes it a different kind of show from most of the others, so we have legal people making sure all the content is fine, and then sometimes we’ll also get notes from local law agencies, as well as internal notes from our own producers. That’s why it takes two months from start to finish.

Cook: We vet it through local law, and they see the cuts before it airs to make sure there are no problems. The biggest priority for us is that we don’t hurt the case at all with our show, so we always check it all with the local D.A. and police. And we don’t sensationalize anything.

Cold Justice

Patch: That’s another big part of editing and post – making sure we keep it authentic. That can be a challenge, but these are real cases with real people being accused of murder.

Cook: Our instinct is to make it dramatic, but you can’t do that. You have to protect the case, which might go to trial.

Talk about editing. You have several editors, I assume because of the time factor. How does that work?
Patch: Some of these cases have been cold for 25 or 30 years, so when the field team gets there, they really stand back and let the cops talk about the case, and we end up with a ton of stuff that you couldn’t fit into the time slot however hard you tried. So we have to decide what needs to be in, what doesn’t.

Cook: On day one, our “war room” day, we meet with the local law and everyone involved in the case, and that’s eight hours of footage right there.

Patch: And that gets cut down to just four or five minutes. We have a pretty small but tight team, with 10 editors who split up the episodes. Once in a while they’ll cross over, but we like to have each team and the producers stay with each episode as long as they can, as it’s so complicated. When you see the finished show, it doesn’t seem that complicated, but there are so many ways you could handle the footage that it really helps for each team to really take ownership of that particular episode.

How involved is Dick Wolf in post?
Cook: He loves the whole post process, and he watches all the cuts and has input.

Patch: He’s very supportive and obviously so experienced, and if we’re having a problem with something, he’ll give notes. And for the most part, the network gives us a lot of flexibility to make the show.

What about VFX on the show?
Patch: We have some, but nothing too fancy, and we use an outside VFX/graphics company, LOM Design. We have a lot of legal documents on the show, and that stuff gets animated, and we’ll also have some 3D crime scene VFX. The only other outside vendor is our composer, Robert ToTeras.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

Shipping + Handling adds Jerry Spivack, Mike Pethel, Matthew Schwab

VFX creative director Jerry Spivack and colorists Michael Pethel and Matthew Schwab have joined LA’s Shipping + Handling, Spot Welders‘ VFX, color grading, animation, and finishing arm/sister company.

Alongside executive producer Scott Friske and current creative director Casey Price, Spivack will help lead the company’s creative team. As the creative director/co-founder at Ring of Fire, Spivack was responsible for crafting and spearheading VFX on commercials for brands including FedEx, Nike and Jaguar; episodic work for series television including Netflix’s Wormwood and 12 seasons of FX’s It’s Always Sunny in Philadelphia; promos for NBC’s The Voice and The Titan Games; and feature films such as Sony Pictures’ Spider-Man 2, Bold Films’ Drive and Warner Bros.’ The Bucket List.

Colorist Pethel was a founding partner of Company 3 and for the past five years has served client and director relationships under his BeachHouse Color brand, which he will continue to maintain. Pethel’s body of work includes campaigns for Carl’s Jr., Chase, Coke, Comcast/Xfinity, Hyundai, Jeep, Netflix and Southwest Airlines.

Commenting on the move, Pethel says, “I’m thrilled to be joining such a fantastic group of highly regarded and skilled professionals at Shipping + Handling. There is so much creativity here; the people are awesome to work with and the technology they are able to offer clientele at the facility is top-notch.”

Schwab formally joins the Shipping + Handling roster after working closely with the company over the past two years on multiple campaigns for Apple, Acura, QuickBooks and many others. Aside from his role at Shipping + Handling, Schwab will also continue his work through Roving Picture Company. Having worked with a number of internationally recognized brands, Schwab has collaborated on projects for Amazon, Honda, Mercedes-Benz, National Geographic, Netflix, Nike, PlayStation and Smirnoff.

“It’s exciting to be part of a team that approaches every project with such energy. This partnership represents a shared commitment to always deliver outstanding color and technical results for our clients,” says Schwab.

“Pethel is easily amongst the best colorists in our industry. As a longtime client of his, I have a real understanding of the professionalism he brings to every session. He is a delight in the room and wickedly talented. Schwab’s talent has just been realized in the last few years, and we are pleased to offer his skill to our clients. If our experience working with him over the last couple of years is any indication, we’re going to make a lot of clients happy he’s on our roster,” adds Friske.

Spivack, Pethel and Schwab will operate out of Shipping + Handling’s West Coast office on the creative campus it shares with its sister company, editorial post house Spot Welders.

Image: (L-R) Mike Pethel, Matthew Schwab, Jerry Spivack

 

Point.360 adds senior colorist Patrick Woodard

Senior colorist Patrick Woodard has joined the creative team at Point.360 in Burbank. He was most recently at Hollywood’s DigitalFilm Tree, where he colored dozens of television shows, including ABC’s American Housewife, CBS’ NCIS: Los Angeles, NBC’s Great News and TBS’ Angie Tribeca. Over the years, he also worked on Weeds, Everybody Hates Chris, Cougar Town and Sarah Silverman: We Are Miracles.

Woodard joins Point.360 senior colorist Charlie Tucker, whose recent credits include the final season of the Netflix’s Orange Is the New Black, CW’s Legacies and Roswell, New Mexico, YouTube’s Cobra Kai, as well as the Netflix comedy Medical Police.

“Patrick is an exceptional artist with an extensive background in photography,” says Point.360’s SVP of episodic Jason Kavner. “His ability to combine his vast depth of technical expertise and his creative vision to quickly create a highly-developed aesthetic has the won the loyalty of many DPs and creatives alike.”

Point360 has four color suites at its Burbank facility. “Although we have the feel of a boutique episodic facility, we are able to offer a robust end to end pipeline thanks to our long history as a premier mastering company,” reports Kavner. “We are currently servicing 4K Dolby Vision projects for Netflix such as the upcoming Jenji Kohan series currently being called Untitled Vigilante Project, as well as the UHD SDR Sony produced YouTube series Cobra Kai. We also continue to offer the same end-to-end service to our traditional studio and network clients on series such as Legacies for the CW, Fresh Off The Boat, Family Guy and American Dad for 20th Century Fox, and Drunk History and Robbie for Comedy Central.

Woodard, who will be working on Resolve at Point360, was also a recent subject of our Behind the Title series. You can read that here.

Brittany Howard music video sets mood with color and VFX

The latest collaboration between Framestore and director Kim Gehrig is for Brittany Howard’s debut solo music video for Stay High, which features a color grade and subtle VFX by the studio. A tribute to the Alabama Shakes’ lead singer’s late father, the stylized music video stars actor Terry Crews (Brooklyn Nine-Nine, The Expendables) as a man finishing a day’s work and returning home to his family.

Produced by production company Somesuch, the aim of Stay High is to present a natural and emotionally driven story that honors the singer’s father, K.J. Howard. Shot in her hometown of Nashville, the music video features Howard’s family and friends while the singer pops up in several scenes throughout the video as different characters.

The video begins with Howard’s father getting off of work at his factory job. The camera follows him on his drive home, all the while he’s singing “Stay High.” As he drives home, we see images people and locations where Howard grew up. The video ends when her dad pulls into his driveway and is met by his daughters and wife.

“Kim wanted to really highlight the innocence of the video’s story, something I kept in mind while grading the film,” says Simon Bourne, Framestore’s head of creative color, who’s graded several films for the director. “The focus needed to always be on Terry with nothing in his surroundings distracting from that and the grade needed to reflect that idea.”

Framestore’s creative director Ben Cronin, who was also a compositor on the project along with Nuke compositor Christian Baker, adds, “From a VFX point of view, our job was all about invisible effects that highlighted the beautiful job that Ryley Brown, the film’s DP, did and to complement Kim’s unique vision.”

“We’ve worked with Kim on several commercials and music video projects, and we love collaborating because her films are always visually-interesting and she knows we’ll always help achieve the ground-breaking and effortlessly cool work that she does.”

Review: FXhome’s HitFilm Pro 12 for editing, compositing, VFX

By Brady Betzel

If you have ever worked in Adobe Premiere Pro, Apple FCP X or Avid Media Composer and wished you could just flip a tab and be inside After Effects, with access to 3D objects directly in your timeline, you are going to want to take a look at FXhome’s HitFilm Pro 12.

Similar to how Blackmagic brought Fusion inside of its most recent versions of DaVinci Resolve, HitFilm Pro offers a nonlinear editor, a composite/VFX suite and a finishing suite combined into one piece of software. Haven’t heard about HitFilm yet? Let me help fill in some blanks.

Editing and 3D model Import

Editing and 3D model Import

What is HitFilm Pro 12?
Technically, HitFilm Pro 12 is a non-subscription-based nonlinear editor, compositor and VFX suite that costs $299. Not only does that price include 12 months of updates and tech support, but one license can be used on up to three computers simultaneously. In my eyes, HitFilm Pro is a great tool set for independent filmmakers, social media content generators and any editor who goes beyond editing and dives into topics like 3D modeling, tracking, keying, etc. without having to necessarily fork over money for a bunch of expensive third-party plugins. That doesn’t mean you won’t want to buy third-party plugins, but you are less likely to need them with HitFilm’s expansive list of native features and tools.

At my day job, I use Premiere, After Effects, Media Composer and Resolve. I often come home and want to work in something that has everything inside, and that is where HitFilm Pro 12 lives. Not only does it have the professional functionality that I am used to, such as trimming, color scopes and more, but it also has BorisFX’s Mocha planar tracking plugin built in for no extra cost. This is something I use constantly and love.

One of the most interesting and recent updates to HitFilm Pro 12 is the ability to use After Effects plugins. Not all plugins will work since there are so many, but in a video released after NAB 2019, HitFilm said plugins like Andrew Kramer’s Video CoPilot Element3D and ones from Red Giant are on the horizon. If you are within your support window, or you continue to purchase HitFilm, FXhome will work with you to get your favorite After Effects plugins working directly inside of HitFilm.

Timeline and 3D model editor

Some additional updates to HitFilm Pro 12 include a completely redesigned user interface that resembles Premiere Pro… kind of. Threaded rendering has also been added, so Windows users who have Intel and Nvidia hardware will see increased GPU speeds, the ability to add title directly in the editor and more.

The Review
So how doees HitFilm Pro 12 compare to today’s modern software packages? That is an interesting question. I have become more and more of a Resolve convert over the past two years, so I am constantly comparing everything to that. In addition, being an Avid user for over 15 years, I am used to a rock-solid NLE with only a few hiccups here and there. In my opinion, HitFilm 12 lands itself right where Premiere and FCP X live.

It feels prosumer-y, in a YouTuber or content-generator capacity. Would it stand up to 10 hours of abuse with content over 45 minutes? It probably would, but much like with Premiere, I would probably split my edits in scenes or acts to avoid slowdowns, especially when importing things like OBJ files or composites.

The nonlinear editor portion feels like Premiere and FCP X had a baby, but left out FCP X’s Magnetic Timeline feature. The trimming in the timeline feels smooth, and after about 20 minutes of getting comfortable with it I felt like it was what I am generally used to. Cutting in footage feels good using three-point edits or simply dragging and dropping. Using effects feels very similar to the Adobe world, where you can stack them on top of clips and they each affect each other from the top down.

Mocha within HitFilm Pro

Where HitFilm Pro 12 shines is in the inclusion of typically third-party plugins directly in the timeline. From the ability to create a scene with 3D cameras and particle generators to being able to track using BorisFX’s Mocha, HitFilm Pro 12 has many features that will help take your project to the next level. With HitFilm 12 Pro’s true 3D cameras, you can take flat text and enhance it with raytraced lighting, shadows and even textures. You can even use the included BorisFX Continuum 3D Objects to make great titles relatively easily. To take it a step further, you can even track them and animate them.

Color Tools
By day, I am an online editor/colorist who deals with the finishing aspect of media creation. Throughout the process, from color correction to exporting files, I need tools that are not only efficient but accurate. When I started to dig into the color correction side of HitFilm Pro 12, things slowed down for me. The color correction tools are very close to what you’ll find in other NLEs, like Premiere and FCP X, but they don’t quite rise to the level of Resolve. HitFilm Pro 12 does operate inside of a 32-bit color pipeline, which really helps avoid banding and other errors when color correcting. However, I didn’t feel that the toolset was making me more efficient; in fact, it was the opposite. I felt like I had to learn FXhome’s way of doing it. It wasn’t that it totally slowed me down, but I felt it could be better.

Color

Color

Summing Up
In the end, HitFilm 12 Pro will fill a lot of holes for individual content creators. If you love learning new things (like I do), then HitFilm Pro 12 will be a good investment of your time. In fact, FXhome post tons of video tutorials on all sorts of good and topical stuff, like how to create a Stranger Things intro title.

If you are a little more inclined to work with a layer-based workflow, like in After Effects, then HitFilm Pro Pro 12 is the app you’ll want to learn. Check out HitFilm Pro 12 on FXhome’s website and definitely watch some of the company’s informative tutorials.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

a52 Color adds colorist Gregory Reese

Colorist Gregory Reese has joined LA-based grading and finishing studio a52 Color, which is led by executive producer Thatcher Peterson and includes colorists Paul Yacono and Daniel de Vue.

Reese comes to a52 Color after eight years at The Mill. While there he colored a spectrum of commercials for athletic brands, including Nike and Reebok, as well as campaigns for Audi, Apple, Covergirl, GMC, Progressive and Samsung. He worked with such directors as AG Rojas, Matt Lambert and Harold Einstein while developing the ability to grade for any style.

Reese contributed to several projects for Apple, including the History of Sound spot, which sonically chronicles the decades from the late 1800s to 2015. The spot earned Reese an HPA Award nomination for Outstanding Color Grading in a Commercial.

“Color is at the center of how audiences engage with a picture in motion,” explains Reese. “Some of its technical components may not always be instantly recognized by the audience, but when it’s done right, it can make for an emotional experience.”

Merging his love for music with the passion for his craft, Reese has collaborated with artists like Jack Ü, Major Lazer, Arctic Monkeys, Run The Jewels, Jack White, Pharrell Williams and many more. Peterson and Reese previously worked together at The Mill in LA. “Having had the fortunate experience of working with Gregory at The Mill, I knew he was the real deal when it came to a seasoned colorist,” says Peterson.

The all-new facility was yet another perk that sealed the deal for Reese, as he explains: “One of the biggest barriers for entry to color is not having access to theaters. a52 Color solves that problem with having the ability to grade both broadcast and theatrical formats as well as giving us a high level of creative freedom. It left me immediately impressed by how invested they are in making it the absolute best place to go for color grading.”

He will be working on FilmLight Baselight.

Colorist Chat: Refinery’s Kyle Stroebel

This Cape Town, South Africa-based artist says that “working creatively with a director and DP to create art is a privilege.”

NAME: Colorist Kyle Stroebel

COMPANY: Refinery in Cape Town, South Africa

CAN YOU DESCRIBE YOUR COMPANY?
We are a full-service post company in the heart of Cape Town. We specialize in front-end dailies and data solutions, and have a full finishing department with a VFX arm and audio division.

Our work varies from long-form feature and television programming to commercials and music video content. We are a relatively young team that loves what we do.

AS A COLORIST, WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
We are by far the most important members of the team and the creative success of a movie is largely based around our skills! Okay, honestly? I have a shot on my timeline that is currently on version 54, and my client still needs an additional eyelash painted out.

I think the surprising thing to the uninformed is the minute elements that we focus on in detail. It’s not all large brush strokes and emotional gesturing; the images you see have more often than not gone through painstaking hours of crafting and creative processing. For us the beauty is in the detail.

Flatland

WHAT SYSTEM DO YOU WORK ON?
FilmLight’s Baselight

ARE YOU SOMETIMES ASKED TO DO MORE THAN JUST COLOR ON PROJECTS?
We are a small team handling multiple projects simultaneously, and our Baselight suites perform multiple functions as a result. My fellow colorist David Grant and I will get involved in our respective projects early on. We handle conform, VFX pulls and versioning and follow the pipe through until the film or project has cleared QC.

With Baselight’s enhanced toolset and paint functionality, we are now saving our clients both time and money by handling a variety of cleanups and corrections without farming the shots out to VFX or Flame.

Plus, the DI is pretty much the last element in the production process. We’re counselors, confidants and financial advisors. People skills come in really handy. (And a Spotify playlist for most tastes and moods is a prerequisite.)

WHAT’S YOUR FAVORITE PART OF THE JOB?
Making something amazing happen with a client’s footage. When they didn’t realize that their own footage could look like what the final product looks like… and sharing in that excitement when it happens.

WHAT’S YOUR LEAST FAVORITE?
Insane deadlines. As our tools have improved, the expectation for lightning-fast turnarounds has increased. I’m a perfectionist with my work and would love to spend days molding certain shots and trying new things. Walking away from a grade and coming back to it is often very fruitful because looking at a complex shot with fresh eyes frequently produces new outlooks and better results. But with hard delivery dates this is becoming seldom-afforded.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Scuba diving with manta rays in Bali; it’s a testament to how much I love what I do that I’m not doing that every day of my life.

WHY DID YOU CHOOSE THIS PROFESSION?
I sometimes wonder that myself when it’s 3am and I’m in a room with no windows for the 17th consecutive hour. Truthfully, I chose it because changing something from the banal to the magnificent gives me joy. Working creatively with a director and DP to create art is a privilege, and the fact that they must sweat and literally bleed to capture the images while I fiddle with the aircon in my catered suite doesn’t hurt.

I was in my third year of film school and brought one of my 16mm projects in to grade with a colorist in telecine. I couldn’t believe what I was seeing. I knew I wanted to do that.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
There have been a load of amazing projects recently. Our local industry has been very busy, and we have benefited greatly from that. I recently finished a remake of the cult classic Critters for Warner Bros.

Flatland

Before that I completed a movie called Flatland that premiered at Berlinale and then went to Cannes. There are a few other movies that I can’t chat too much about right now. I also did a short piece by one of South Africa’s biggest directors, Kim Geldenhuys, for the largest blue diamond found in recent history.

Changing of the seasons has also meant a couple of amazing fashion pieces for different fashion houses’ new collections.

HOW DO YOU PREFER TO WORK WITH THE DP/DIRECTOR?
Depends on the project. Depends on the director and DP too, actually. With long-form work,  I love to spend a day or two together with them in the beginning, and then I take a day or two to go over and play with a couple of scenes on my own. From there we should have reached a pretty cohesive vision as to what the directors wants and how I see the footage. Once that vision is aligned, I like to work on my own while listening to loud music and giving everything a more concrete look. Then, ideally, the director returns for a few days at the end, and we get stuck into the minutia.

With commercials, I like working with the director from early in the morning so that we know where we want to go before the agency has input and makes alterations! It’s a fine balancing act.

ANY SUGGESTIONS FOR GETTING THE MOST OUT OF A PROJECT FROM A COLOR PERSPECTIVE?
Have the colorist involved early on. When you begin shooting, have the colorist and DP develop a relationship so that the common vision develops during principal photography. That way, when the edit is locked, you have already experimented with ideas and the DP is shooting for a more precise look.

CAN YOU TALK ABOUT YOUR WORK ON THE WARNER BROS. FILM? EXPLAIN YOUR PROCESS ON THAT? ANY PARTICULARLY CHALLENGING SCENES?
Critters is a cult horror franchise from the late ’80 and early ‘90s. The challenge was to be really dark and moody but still stay true to the original and fit in with modern viewing devices without losing drastic detail. It centers on a lot of practical on-set special effects, something in increasing decline with advancements in CGI. Giving the puppets a lifelike appearance while still making them believable came with quite a few challenges.

HOW DO YOU PREFER THE DP OR DIRECTOR TO DESCRIBE THE LOOK THEY WANT? PHYSICAL EXAMPLES, FILMS TO EMULATE, ETC.?
Practical examples or references are very helpful. Matching something is easy, developing beyond that to give it a unique quality is what keeps it interesting. Certain directors find it easier to work with non-specifics and let me interpret the vibe and mood from more emotional explanations rather than technical jargon. While sometimes harder to initially interpret, that approach has benefits because it’s a bit more open-ended.

Red Bull

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I love and hate most of the things I work on for a variety of reasons. It’s hard to pick one. Gun to my head? Probably a short film for Red Bull Music by Petite Noir. It was shot by Deon Van Zyl in the Namib desert and had just the most exquisite visuals from the outset. I still watch it when I’m feeling down.

WHERE DO YOU FIND INSPIRATION? ART? PHOTOGRAPHY?
At the risk of sounding like a typical millennial, I use Instagram a heck of a lot. I get to see what the biggest and best colorists are doing around the world. Before Instagram, you would only see pieces of critical acclaim. Now, through Instagram and Vimeo, I get to see so many passion projects in which people are trying new things and pushing boundaries beyond what clients, brands and studios want. I can spend days in galleries and bask in the glory of Caravaggio and Vermeer, but I can also scroll quickly through very contemporary looks, innovations and trends.

Red Bull

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
My phone. I hate it, but my life happens largely through that porthole. My NutriBullet. My Baselight. I’ve never loved an inanimate object like I love my Baselight.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Instagram as mentioned. I love the work of Joseph Bicknell, Kath Raisch, Sofie Borup, Craig Simonetti, Matt Osborne and then anything that comes from The Mill channel. Also, a wide range of directors and the associated Vimeo links. I can honestly get lost on an obscure Korean channel with magnificent images and languages I don’t understand.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I run. Even If I’m breaking 90-hour weeks, I always make sure I run three or four times a week. And I love cooking. It’s expressive. I get to make meals for my partner Katherine, who tends to be very receptive.

Veteran episodic colorist Scott Klein joins Light Iron

Colorist Scott Klein has joined post house Light Iron, which has artists working on feature films, episodic series and music videos at its Los Angeles- and New York-based studios. Klein brings with him 40 years of experience supervising a variety of episodic series.

“While Light Iron was historically known for its capabilities with feature films, we have developed an equally strong episodic division, and Scott builds upon our ongoing commitment to providing the talent and technology necessary for supporting all formats and distribution platforms,” says GM Peter Cioni of Light Iron.

Klein’s list of credits include Fox’s Empire, HBO’s Deadwood: The Movie and Showtime’s Ray Donovan. He also collaborated on the series Bosch, True Blood, The Affair, Halt and Catch Fire, Entourage and The Sopranos. Klein is also an associate member of the American Society of Cinematographers (ASC). He will be working on Blackmagic’s DaVinci Resolve.

“I really enjoy the artistic collaboration with filmmakers,” he says. “It is great to be part of a facility with such a pure passion for supporting the creative through technology. Colorists need strong technology that serves as a means to best express the feelings being conveyed in the images and further enhance the moods that draw audiences into a story.”

Also joining Klein are his colleagues and fellow colorists Daniel Yang, Jesús Borrego and Ara Thomassian. They join Light Iron after working together at Warner Bros. and then Technicolor.

In addition to growing its team of artists to support the expanding market and client needs, Light Iron has also expanded its physical footprint with a second Hollywood-based location a short distance from its flagship facility. A full breadth of creative finishing services for feature films and episodic series is available at both locations. Light Iron also has locations in Atlanta, Albuquerque, Chicago and New Orleans.

 

Review: The Loupedeck+ editing console for stills and video

By Brady Betzel

As an online editor I am often tasked with wearing multiple job hats, including VFX artist, compositor, offline editor, audio editor and colorist, which requires me to use special color correction panel hardware. I really love photography and cinematography but have never been able to use the color correction hardware I’m used to in  Adobe’s Photoshop or Lightroom, so for the most part I’ve only done basic photo color correction.

You could call it a hobby, although this knowledge definitely helps many aspects of my job. I’ve known Photoshop for years and use it for things like building clean plates to use in apps like Boris FX Mocha Pro and After Effects, but I had never really mastered Lightroom. However, that changed when I saw the Loupedeck. I was really intrigued with its unique layout but soon dismissed it since it didn’t work on video… until now. I’m happy to say the new Loupedeck+ works with both photo and video apps.

Much like the Tangent Element and Wave or Blackmagic Micro and Mini panels, the Loupedeck+ is made to adjust parameters like contrast, exposure, saturation, highlights, shadows and individual colors. But, unlike Tangent or Blackmagic products, the Loupedeck+ functions not only in Adobe Premiere and Apple Final Cut Pro X but in image editing apps like Lightroom 6, Photoshop CC, and Skylum Aurora HDR; the audio editing app Adobe Audition and the VFX app Adobe After Effects. There’s also beta integration with Capture One.

It works via USB 2.0 connection on Windows 10 and Mac OS 10.12 or later. In order to use the panel and adjust its keys, you must also download the Loupedeck software, which you can find here. The Loupedeck+ costs just $249 dollars, which is significantly less than many of the other color correction panels on the market offering so many functions.

Digging In
In this review, I am going to focus on Loupedeck+’s functionality with Premiere, but keep in mind that half of what makes this panel interesting is that you can jump into Lightroom Classic or Photoshop and have the same, if not more, functionality. Once you install the Loupedeck software, you should restart your system. When I installed the software I had some weird issues until I restarted.

When inside of Premiere, you will need to tell the app that you are using this specific control panel by going to the Edit menu > Preferences > Control Surface > click “Add” and select Loupedeck 2. This is for a PC, but Mac OS works in a similar way. From there you are ready to use the Loupedeck+. If you have any customized keyboard shortcuts (like I do) I would suggest putting your keyboard shortcuts to default for the time being, since they might cause the Loupedeck+ to use different keypresses than you originally intended.

Once I got inside of Premiere, I immediately opened up the Lumetri color panels and began adjusting contrast, exposure and saturation, which are all clearly labeled on the Loupedeck+. Easy enough, but what if you want to use the Loupedeck+ as an editing panel as well as a basic color correction console? That’s when you will want to print out pages six through nine of the Premiere Pro Loupedeck+ manual, which you can find here. (If you like to read on a tablet you could pull that up there, but I like paper for some reason… sorry trees.) In these pages, you will see that there are four layers of controls built into the Loupedeck+.

Shortcuts
Not only can you advance frames using the arrow keypad, jump to different edit points with the jog dial, change LUTs, add keyframes and extend edits, you also have three more layers of shortcuts. To get to the second layer of shortcuts, press the “Fn” button located toward the lower left, and the Fn layer will appear. Here you can do things like adjust the shadows and midtones on the X and Y axes, access the Type Tool or add edits to all tracks. To go even further, you can access the “Custom” mode, which has defaults but can be customized to whichever keypress and functions the Loupedeck+ app allows.

Finally, while in the Custom mode, you can press the Fn button again and enter “Custom Fn” mode — the fourth and final layer of shortcuts. Man, that is a lot of customizable buttons. Do I need all those buttons? Probably not, but still, they are there —and it’s better to have too much than not enough, right?

Beyond the hundreds of shortcuts in the Loupedeck+ console you have eight color-specific scroll wheels for adjusting. In Lightroom Classic, these tools are self-explanatory as they adjust each color’s intensity.

In Premiere they work a little differently. To the left of the color scroll wheels are three buttons: hue, saturation and luminance (Hue, Sat and Lum, respectively). In the standard mode, they each equate to a different color wheel: Hue = highlights, Sat = midtones and Lum = shadows. The scroll wheel above red will adjust the up/down movement in the selected color wheel’s x-axis, orange will adjust the left/right movement in the selected color wheel’s y-axis, and yellow will adjust the intensity (or luminance) of the color wheel.

Controlling the Panel
In traditional color correction panels, color correction is controlled by roller balls surrounded by a literal wheel to control intensity. It’s another way to skin a cat. I personally love the feel of the Tangent Element Tk panel, which simply has three roller balls and rings to adjust the hue, but some people might like the ability to precisely control the color wheels in x- and y-axis.

To solve my issue, I used both. In the preferences, I enabled both Tangent and Loupedeck options. It worked perfectly (once I restarted)! I just couldn’t get past the lack of hue balls and rings in the Loupedeck, but I really love the rest of the knobs and buttons. So in a weird hodge-podge, you can combine a couple of panels to get a more “affordable” set of correction panels. I say affordable in quotes because, as of this review, the Tangent Element Tk panels are over $1,100 for one panel, while the entire set is over $3,000.

So if you already have the Tangent Element Tk panel, but want a more natural button and knob layout, the Loupedeck+ is a phenomenal addition as long as you are staying within the Adobe or FCP X world. And while I clearly like the Tangent Elements panels, I think the overall layout and design of the Loupedeck+ is more efficient and overall more modern.

Summing Up
In the end, I really like the Loupedeck+. I love being able to jump back and forth between photo and video apps seamlessly with one panel. What I think I love the most is the “Export” button in the upper right corner of the Loupedeck+. I wish that button existed on all panels.

When using the Loupedeck+, you can really get your creative juices flowing by hitting the “Full Screen” button and color correcting away, even using multiple adjustments at once to achieve your desired look — similar to how a lot of people use other color correction panels. And at $249, the Loupedeck+ might be the overall best value for the functionality of any editing/color correction panel currently out there.

Can I see using it when editing? I can, but I am such a diehard keyboard and Wacom tablet user that I have a hard time using a panel for editing functions like trimming and three-point edits. I did try the trimming functionality and it was great, not only on a higher-end Intel Xeon-based system but on an even older Windows laptop. The responsiveness was pretty impressive and I am a sucker for adjustments using dials, sliders and roller balls.

If you want to color correct using panels, I think the Loupedeck+ is going to fit the bill for you if you work in Adobe Creative Suite or FCP X. If you are a seasoned colorist, you will probably start to freak out at the lack of rollerballs to adjust hues of shadows, midtones and highlights. But if you are a power user who stays inside the Adobe Creative Cloud ecosystem, there really isn’t a better panel for you. Just print up the shortcut pages of the manual and tape them to the wall by your monitor for constant reference.

As with anything, you will only get faster with repetition. Not only did I test out color correcting footage for this review, I also used the Loupedeck+ in Adobe Lightroom Classic to correct my images!


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Perpetual Grace’s DPs, colorist weigh in on show’s gritty look

You don’t have to get very far into watching the Epix series Perpetual Grace LTD to realize just how ominous this show feels. It begins with the opening shots, and by the time you’ve spent a few minutes with the dark, mysterious characters who populate this world — and gathered hints of the many schemes within schemes that perpetuate the story — the show’s tone is clear. With its black-and-white flashbacks and the occasional, gritty flash-forwards, Perpetual Grace gets pretty dark, and the action goes in directions you won’t see coming.

This bizarre show revolves around James (Westworld’s Jimmi Simpson), who gets caught up in what initially seems like a simple con that quickly gets out of control. Sir Ben Kingsley, Jacki Weaver, Chris Conrad and Luis Guzmán also star as an assortment of strange and volatile characters.

The series comes from the minds of executive producer Steve Conrad, who also served in that role on Amazon’s quirky drama Patriot, and Bruce Terris, who was both a writer and a first AD on that show.

These showrunners developed the look with other Patriot veterans: cinematographers James Whitaker and Nicole Hirsch Whitaker, who incorporated colorist Sean Coleman’s input before commencing principal photography.

Coleman left his grading suite at Company 3 in Santa Monica to spend several days at the series’ New Mexico location. While there he worked with the DPs to build customized LUTs for them to use during production. This meant that everyone on set could get a strong sense of how lighting, costumes, sets and locations would read with the show’s signature looks applied.

The Whitakers on set

“I’ve never been able to work with the final colorist this way,” says Whitaker, who also alternated directing duties with Conrad. “It was great having him there on set where we could talk about the subtleties of color. What should the sky look like? What should blood look like? Faces? Clothes? Using Resolve, he made two LUTs — “the main one for the color portions and a different one specifically for the black-and-white parts.”

The main look of the show is inspired by film noir and western movie tropes, and all with a tip of the hat to Roger Deakins’ outstanding work on The Assassination of Jesse James by the Coward Robert Ford. “For me,” says Whitaker, “it’s about strong contrast, deep blacks and desert colors … the moodier the better. I don’t love very blue skies, but we wanted to keep some tonality there.”

“It’s real sweaty, gritty, warm, nicotine-stained kind of thing,” Coleman elaborates.

“When we showed up in New Mexico,” Whitaker recalls, “all these colors did exist at various times of the day, and we just leaned into them. When you have landscapes with big, blue skies, strong greens and browns, you can lean in the other way and make it overly saturated. We leaned into it the other way, holding the brown earth tones but pulling out some of the color, which is always better for skin tones.”

The LUTs, Whitaker notes, offer a lot more flexibility than the DPs would have if they used optical filters. Beyond the nondestructive aspect of a LUT, it also allows for a lot more complexity. “If you think about a ‘sepia’ or ‘tobacco’ filter or something like that, you think of an overall wash that goes across the entire frame, and I get immediately bored by that. It’s tricky to do something that feels like it’s from a film a long time ago without dating the project you’re working on now; you want a lot of flexibility to get [the imagery] where you want it to go.”

The series was shot in November through February, often in brutally cold environments. Almost the entire series (the present-day scenes and black-and-white flashbacks) was shot on ARRI Alexa cameras in a 2.0:1 aspect ratio. A frequent Whitaker/Hirsch Whitaker collaborator, DIT Ryan Kunkleman applied and controlled the LUTs so the set monitors reflected their effect on the look.

The flash forwards, which usually occur in very quick spurts, were shot on a 16mm Bolex camera using Kodak’s 7203 (50D) and 7207 (250D) color negative film, which was pushed two stops in processing to enhance grain in post by Coleman.

Final color was done at Company 3’s Santa Monica facility, working primarily alongside the Whitakers. “We enhanced the noir look with the strong, detailed blacks,” says Coleman. Even though a lot of the show exudes the dry desert heat, it was actually shot over a particularly cold winter in New Mexico. “Things were sometimes kind of cold-looking, so sometimes we’d twist things a bit. We also added some digital ‘grain’ to sort of muck it up a little.”

For the black and white, Coleman took the color material in Resolve and isolated just the blue channel in order to manipulate it independent of the red and green, “to make it more inky,” he says. “Normally, you might just drain the color out, but you can really go further than that if you want a strong black-and-white look. When you adjust the individual channel, you affect the image in a way that’s similar to the effect of shooting black-and-white film through a yellow filter. It helps us make darker skies and richer blacks.”

Sean Coleman

“We’ve booked a whole lot of hours together, and that provides a level of comfort,” says Hirsch Whitaker about her and Whitaker’s work with Coleman. “He does some wonderful painting [in Resolve] that helps make a character pop in the frame or direct the viewer’s eye to a specific part of the frame. He really enjoys the collaborative element of color grading.”

Whitaker seconds that emotion: “As a cinematographer, I look at color grading a bit like working on set. It’s not a one-person job. It takes a lot of people to make these images.”

Picture Shop buys The Farm Group

Burbank’s Picture Shop has acquired UK-based The Farm Group. The Farm Group was founded in 1998 and currently has four locations in London, as well as facilities in Manchester, Bristol and Los Angeles.

The Farm, London

The Farm also operates the in-house post production teams for BBC Sport in Salford, England; UKTV; and Fremantle Media. This deal marks Picture Shop’s second international acquisition, followed by the deal it made for Vancouver’s Finalé Post earlier this year.

The founders of The Farm, Nicky Sargent and Vikki Dunn, will stay involved in The Farm Group. In a joint statement, Sargent and Dunn said, “We are delighted that after 20 successful years, we have a new partner. Picture Shop is poised to expand in the international post market and provide the combination of technical, creative and professional excellence to the world’s content creators.”

The duo will also re-invest in the expanded Picture Head Group, which includes Picture Head and audio post company Formosa Group, in addition to Picture Shop.

L-R: The Farm Group’s Nicky Sargent and Vikki Dunn.

Bill Romeo, president of Picture Shop, says, “Based on the amount of content being created internationally, we felt it was important to have a presence worldwide and support our clients’ needs. The Farm, based on its reputation and creative talent, will be able to maintain the philosophy of Picture Shop. It is a perfect fit. Our clients will benefit from our collaborative efforts internationally, as well as benefit from our technology and experience. We will continue to partner and support our clients while maintaining our boutique feel.”

Recent work from The Farm Group includes BBC Two’s Summer of Rockets, Sky One’s Jamestown and Britain’s Got Talent.

 

Yesterday director Danny Boyle

By Iain Blair

Yesterday, everyone knew The Beatles. Today, only a struggling singer-songwriter in a tiny English seaside town remembers their songs. That’s the brilliant-yet-simple setup for Yesterday, the new rock ’n’ roll comedy from Academy Award-winning director Danny Boyle (Slumdog Millionaire, Trainspotting) and Oscar-nominated screenwriter Richard Curtis (Four Weddings and a Funeral, Love Actually, Notting Hill).

Danny Boyle on set with lead actor Himesh Patel

Jack Malik (Himesh Patel of BBC’s EastEnders) is the struggling singer-songwriter whose dreams of fame are rapidly fading, despite the fierce devotion and support of his childhood best friend/manager, Ellie (Lily James, Mamma Mia! Here We Go Again). But after a freak bus accident during a mysterious global blackout, Jack wakes up to discover that only he remembers The Beatles and their music, and his career goes supercharged when he ditches his own mediocre songs and instead starts performing hit after hit by the Fab Four — as if he’d written them.

Yesterday co-stars Ed Sheeran and James Corden (playing themselves) and Emmy Award-winner Kate McKinnon as Jack’s Hollywood agent. Along with new versions of The Beatles’ most beloved hits, Yesterday features a seasoned group of collaborators, including DP Christopher Ross (Terminal, the upcoming Cats), editor Jon Harris (Kingsman: The Secret Service, 127 Hours), music producer Adem Ilhan (The Ones Below, In the Loop) and composer Daniel Pemberton (Steve Jobs, Spider-Man: Into the Spider-Verse).

I recently spoke with Boyle, whose eclectic credits include Shallow Grave, The Beach, A Life Less Ordinary, Trance, Steve Jobs, Sunshine and 127 Hours, about making the film and the workflow.

What was your first reaction when you read this script?
I was a big fan of Richard’s work, and we’d worked together on the opening ceremony for the 2012 London Olympics, when we did this Chariots of Fire spoof with Rowan Atkinson, and I casually said to him, “If you’ve ever got anything for me, send it over.” And he said, “Funnily enough, I do have a script that might suit you,” and he sent it over, and I was just overwhelmed when I read it. He’d managed to take these two fairly ordinary people and their love story, and then intertwine it, like a double helix, with this love letter to The Beatles, which is the whole texture and feeling of this film.

It comes across as this very uplifting and quite emotional film.
I’m glad you said that, as I thought this whole simple idea — and it’s not sci-fi, but it’s not really explained — of this global amnesia about The Beatles and all their songs was just so glorious and wonderful, and just like listening to one of their songs. It really moved me, and especially the scene at the end. That affected me in a very personal way.  It’s about the wonder of cinema and its relationship to time, and film is the only art form that really looks at time in such detail because film is time. And that relates directly to editing, where you’re basically compressing time, stretching it, speeding it up, freezing it — and even stopping it. No other art form can do that.

The other amazing aspect of film is that going to the movies is also an expression of time. The audience says, “I’m yours for the next two hours,” and in return you give them time that’s manipulated and squeezed and stretched, and even stopped. That’s pretty amazing, I think. That’s what I tried to do with this film, do something that brings back The Beatles and all that sense of pure joy in their music, and how it changed people’s lives forever.

Is it true that Jack is partly based on Ed Sheeran’s own life story?
It is, absolutely, and he’s good friends with Richard Curtis. Ed played all the little pubs and small festivals where we shot, and very unsuccessfully when he started out. Then he was propelled into superstardom, and that also appeared to happen overnight. Where did all his great songs come from? Then, like in the film, Ed actually returned to his childhood sweetheart and they ended up getting married, and you go, “Wow! OK. That’s amazing.” So all that gave us the exo-skeleton of the film, and Ed’s also done some acting — he was in Game of Thrones and Bridget Jones’ Baby, and then he also wrote the song at the end, so it was really perfect he was also in it.

What did Himesh bring to the role of Jack?
The only trepidation I had was when I began auditioning people for the part, as it was basically, “Come in and sing a couple of Beatles songs.” And some were probably better technically than Himesh, but I soon realized it was going to be far harder than I thought to get the right guy. We had great actors who weren’t great singers, and vice versa, and we didn’t want just a karaoke version of 17 songs.

And making it more complicated was that, unlike in the film, we all do remember The Beatles. But then Himesh walked in, played “Yesterday” and “Back in the USSR,” and even though I was oversaturated by The Beatles music at this point, they just grabbed me. He made them his own, as if they were his songs. He was also very modest with it as well, in his demeanor and approach. He doesn’t rethink the wheel. He says, “This is the song you’ve missed, and I’m bringing it back to you.” And that’s the quality he brings to his performance. There’s a genuine simplicity, but he’s also very funny and subtle. He doesn’t try and hijack The Beatles and lay on extra notes that you don’t need. He’s a very gentle guy, and he lets you see the song for what it is, the beauty of them.

Obviously, the music and sound were crucial in this, and usually films have the actors lipsync, but Himesh sang live?
Totally. He played and sang live — no dubs or pre-records. Early on I sat down with Simon Hayes, who won the Oscar for mixing Les Mis, and told him that’s what I wanted. It’s very difficult to do live recording well, but once Simon heard Himesh sing, he got it.

The songs in this help tell the story, and they’re as important as all the dialogue, so every time you hear Himesh play and sing it live. Then for all the big concerts, like at Wembley, we added extra musicians, which we over-dubbed. So even if there were mistakes or problems with Himesh’s performances, we kept it, as you’ve got to believe it’s him and his songs. It had to be honest and true.

We screened the premiere in Dolby Vision Atmos in London, and it’s got such a fantastic range. The sound is so crisp and clean — and not just the effects, but all the dialogue, which is a big tribute to Simon. It’ll be so sad if we lose cinema to streaming on TV and watching films on tiny phones because we’ve now achieved a truly remarkable technical standard in sound.

Where did you do all the post?
We edited at a few places. We were based at Pinewood to start with, as I was involved with the Bond film, and then we moved to some offices in central London. Finally, we ended up at Working Title, where they have a great editing setup in the basement. Then as usual we did all the sound mixing at Pinewood with Glenn Freemantle and his team from Sound 24. They’ve done a lot of my films.

We did all the visual effects with my usual guy, VFX supervisor Adam Gascoyne over at Union Visual Effects in London. He’s done all my films for a very long time now, and they did a lot of stuff with crowd and audience work for the big shows. Plus, a lot of invisible stuff like extensions, corrections, cleanup and so on.

You also reteamed with editor Jon Harris, whose work on 127 Hours earned him an Oscar nom. What were the big editing challenges?
We had quite a few. There was this wonderful scene of Jack going on the James Corden show and playing “Something,” the George Harrison song, and we ultimately had to cut the whole thing. On its own, it was this perfect scene, but in the context of the film it came too late, and it was also too reminiscent of “Yesterday” and “The Long and Winding Road.”

The film just didn’t need it, and it was quite a long sequence, and it was really sad to cut it, but it just flowed better without it. Originally, we started the film with a much longer sequence showing Jack being unsuccessful, and once we tested that, it was immediately obvious that the audience understood it all very quickly. We just didn’t need all that, so we had to cut a lot of that. It’s always about finding the right rhythm and pace for the story you’re telling.

L-R: Iain Blair and Danny Boyle

Where was the DI done?
At Goldcrest with colorist Adam Glasman, who has worked a lot with DP Chris Ross. It was a very joyous film to make and I wanted it to look joyful too, with a summer spirit, but also with a hint of melancholy. I think Himesh has that too, and it doesn’t affect the joy, but it’s a sub-note. It’s like the English countryside, where we tried to capture all its beauty but also that feeling it’s about to rain all the time. It’s that special bittersweet feeling.

I assume Paul and Ringo gave you their blessing on this project?
Yeah, you have to get their agreement as they monitor the use of the songs, and Working Title made a great deal with them. It was very expensive, but it gave us the freedom to be able to change the songs in the edit at the last minute if need be, which we did a few times. We got beautiful letters back, very touching, and Paul was very funny as he gave us permission to use “Yesterday,” which we also used as the film title. He told us that his original lyric title was “Scrambled Eggs,” and if the film turned out to be a mess, we could just call it Scrambled Eggs instead.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

DP Chat: Good Omens cinematographer Gavin Finney

By Randi Altman

London-born cinematographer Gavin Finney, BSC, has a wealth of television series and film experience under his belt, including Wolf Hall, The Fear and the upcoming series based on the film of the same name, Hulu’s Four Weddings and a Funeral. One of his most recent projects was the six-episode Amazon series Good Omens, starring Michael Sheen (Aziraphale) and David Tennant (Crowley) as an angel and a demon with a very long history, who are tasked with saving the world. It’s based on the book by Neil Gaiman and Terry Pratchett.

Finney was drawn to cinematography by his love of still photography and telling stories. He followed that passion to film school and fell in love with what could be done with moving images.

Let’s find out more about Finney and his work on Good Omens.

How would you describe the look of Good Omens? How did you work with the director/s/producers to achieve the look they wanted?
There is a progression through the story where things get increasingly strange as Adam (who our main characters believe is the antichrist) comes into his powers, and things in his head start manifesting themselves. It is also a 6,000-year-long buddy movie between an angel and a demon! There is Adam’s world — where everything is heightened and strangely perfect — and Aziraphale and Crowley’s world of heaven and hell. At some point, all these worlds intersect. I had to keep a lot of balls in the air in regard to giving each section its own look, but also making sure that when these worlds collide, it still makes sense.

Each era depicted in the series had a different design treatment — obviously in the case of costume and production design — but also in the way we shot each scene and the way they were lit. For instance, Neil Gaiman had always imagined the scene in the church in the blitz in Episode 3 to be an homage to the film noir style of the time, and we lit and photographed it in that style. Ancient Rome was given the patina of an Alma-Tadema oil painting, and we shot Elizabethan London in an exact recreation of Shakespeare’s Globe Theatre. The ‘60s were shot mainly on our Soho set, but redressed with posters from that time, and we changed the lighting to use more neon and used bare bulbs for signage.

I also graded the dailies throughout production on DaVinci Resolve, adding film grain and different looks to different time periods to help anchor where we were in the story. Neil wanted heaven and hell to feel like two parts of the same celestial building, so heaven occupied the best penthouse offices, and hell was stuck in the damp, moldy basement where nothing works properly.

We found a huge empty building for the heaven set that had shiny metal flooring and white walls. I frosted all the windows and lit them from outside using 77 ARRI Skypanels linked to a dimmer desk so we could control the light over the day. We also used extremely wide-angle lenses such as the Zeiss rectilinear 8mm lens to make the space look even bigger. The hell set used a lot of old, slightly greenish fluorescent fittings, some of them flickering on and off. Slimy dark walls and leaking pipes were added into the mix.

For another sequence Neil and Douglas wanted an old-film look. To do this, ARRI Media in London constructed a hand-cranked digital camera out of an old ARRI D21 camera and connected it to an ARRI 435 hand-crank wheel and then to a Codex recorder. This gave us a realistic, organic varis-peed/vari-exposure look. I added a Lensbaby in a deliberately loose mount to emulate film weave and vignetting. In this way I was able to reproduce very accurately the old-style, hand-cranked black and white look of the first days of cinema.

How early did you get involved in the production?
I’d worked with the director Douglas Mackinnon a few times before (on Gentlemen’s Relish and The Flying Scotsman), and I’d wanted to work with him again a number of times but was never available. When I heard he was doing this project, I was extremely keen to get involved, as I loved the book and especially the kind of world that Neil Gaiman and Terry Pratchett were so good at creating. Fortunately, he asked me to join the team, and I dropped everything I was doing to come on board. I joined the show quite late and had to fly from London to Cape Town on an early scout the day after getting the job!

How did you go about choosing the right camera and lenses for this project?
We shot on Leica Summilux Primes and ARRI Alura zooms (15.5-45mm and 45-
250mm) and ARRI Alexa SXT and Alexa Mini cameras outputting UHD 4K files. The Alexa camera is very reliable, easy to work with, looks great and has very low noise in the color channels, which is useful for green/bluescreen work. It can also shoot at 120fps without cutting into the sensor size. We also had to make sure that both cameras and lenses were easily available in Cape Town, where we filmed after the
UK section.

The Alexa output is also very flexible in the grade, and we knew we were going to be pushing the look in a number of directions in post. We also shot with the Phantom Flex 4K high-speed camera at 1,000fps for some scenes requiring ultra-slo motion, and for one particular sequence, a specially modified ARRI D-21 that could be “hand-cranked” like an old movie camera.

You mentioned using Resolve on set. Is this how you usually work? What benefit did you get from doing this?
We graded the dailies on Blackmagic’s DaVinci Resolve with our DIT Rich
Simpson. We applied different looks to each period of the story, often using a modified film emulation plugin. It’s very important to me that the dailies look great and that we start to establish a look early on that can inform the grade later.

Rich would bring me a variety of looks each day and we’d pick the one we liked for that day’s work. Rich was also able to export our selected looks and workflow to the South African DIT in Cape Town. This formed the starting point of the online grade done at Molinare on FilmLight Baselight under the hugely capable hands of Gareth Spensley. Gareth had a big influence on the look of the series and did some fantastic work balancing all the different day exteriors and adding some magic.

Any challenging scenes you are particularly proud of?
We had some very big sets and locations to light, and the constantly moving style of photography we employed is always a challenge to light — you have to keep all the fixtures out of shot, but also look after the actors and make sure the tone is right for the scene. A complicated rig was the Soho street set that Michael Ralph designed and built on a disused airbase. This involved four intersecting streets with additional alleyways, many shops and a main set — the bookshop belonging to Aziraphale.

This was a two-story composite set (the interior led directly to the exterior). Not only did we have to execute big crane moves that began looking down at the whole street section and then flew down and “through” the windows of the bookshop and into an interior scene. We also had to rig the set knowing that we were going to burn the whole thing down.

Another challenge was that we were filming in the winter and losing daylight at 3:30pm but needing to shoot day exterior scenes to 8pm or later. My gaffer (Andy Bailey) and I designed a rig that covered the whole set (involving eight cranes, four 18Kw HMIs and six six-meter helium hybrid balloons) so that we could seamlessly continue filming daylight scenes as it got dark and went to full night without losing any time. We also had four 20×20-foot mobile self-lighting greenscreens that we could move about the set to allow for the CGI extensions being added later.

What inspires you artistically? And how do you simultaneously stay on top of advancing technology that serves your vision?
The script inspires me artistically. If I don’t love the story and can’t immediately “see” how it might look, I don’t do it. After that, I’m inspired by real life and the way changing light utterly transforms a scene, be it a landscape or an interior. I also visit art galleries regularly to understand how other people see, imagine and communicate.

What new technology has changed the way you work (looking back over the past few years)?
Obviously, digital cinematography has had a huge impact. I trained in film and spent the first 16 years of my career shooting film exclusively, but I was happy to embrace digital when it came in. I love keeping up with all the advances.

Lighting is also going digital with the advent of LED fixtures with on-board computers. I can now dial any gel color or mix my own at any dimmer level from an app on my phone and send it to dozens of fixtures. There is an incredible array of tools now at our disposal, and I find that very exciting and creatively liberating.

What are some of your best practices or rules you try to follow on each job?
I tend to work on quite long jobs — my last two shows shot for 109 and 105 days, respectively. So keeping to sensible hours is critical. Experienced producers who are concerned with the welfare, health and safety of their crew keep to 10 hours on camera, a one-hour lunch and five-days weeks only. Anything in excess of that results in diminishing returns and an exhausted and demoralized crew.

I also think prep time is incredibly important, and this is another area that’s getting squeezed by inexperienced producers to the detriment of the production. Prep time is a comparatively cheap part of the process but one that reaps huge dividends on the shoot. Being fully prepared, making the right location and set design choices, and having enough to time to choose equipment and crew and work out lighting designs all make for a smooth-running shoot.

Explain your ideal collaboration with the director when setting the look of a project.
This goes back to having enough prep time. The more time there is to visit possible locations and simply talk through all the options for looks, style, movement and general approach the better. I love working with visual directors who can communicate their ideas but who welcome input. I also like being able to ditch the plan on the day and go with something better if it suddenly presents itself. I like being pushed out of my comfort zone and challenged to come up with something wonderful and fresh.

What’s your go-to gear — things you can’t live without?
I always start a new production from scratch, and I like to test everything that’s available and proven in the field. I like to use a selection of equipment — often different cameras and lenses that I feel suit the aesthetic of the show. That said, I think
ARRI Alexa cameras are reliable and flexible and produce very “easy to work with” images.

I’ve been using the Letus Helix Double and Infinity (provided by Riz at Mr Helix) with an Exhauss exoskeleton support vest quite a lot. It’s a very flexible tool that I can operate myself and it produces great results. The Easyrig is also a great back-saver when doing a lot of handheld-work, as the best cameras aren’t getting any lighter.

Apart from that, comfortable footwear and warm, waterproof clothing are essential!


Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 20 years. 

DP Chat: Catch-22’s Martin Ruhe, ASC

By Randi Altman

For the bibliophiles out there, you know Catch-22 as the 1961 book by Joseph Heller. Cinephiles might remember the 1970 film of the same name starring Alan Arkin. And for those who are familiar with the saying, but not its origins, a Catch-22 is essentially a no-win situation. The famous idiom comes from the book — specifically the main character, Captain John Yossarian, a World War II bombardier who finds himself needing to escape the war, but rules and regulations hold him back.

Martin Ruhe (right) on-set with George Clooney.

Now there is yet another Catch-22 to point to: Hulu’s miniseries, which stars Christopher Abbott, Kyle Chandler, Hugh Laurie and George Clooney. Clooney is also an executive producer, alongside Grant Heslov, Luke Davies, David Michôd, Richard Brown, Steve Golin and Ellen Kuras. The series was written by Davies and Michôd and directed by Clooney, Heslov and Kuras, who each directed two episodes. It was shot entirely in Italy.

We recently reached out to the show’s German-born DP, Martin Ruhe, ASC, to find out about his workflow on the series and how he became a cinematographer.

Tell us about Catch-22. How would you describe the look of the film that you and the directors wanted to achieve?
George was very clear — he wanted to push the look of the show toward something we don’t see very often these days in TV or films. He wanted to feel the heat of the Italian summer.

We also wanted to contrast the absurdity of what happens on the ground with the claustrophobic and panic of the aerial work. We ended up with a strong warm tone and a lot of natural light. And we move the camera as if we‘re always with our hero (Abbott). Very often we travel with him in fluent camera moves, and then we contrast that with shaky hand-held camera work in the air. It was good fun to be able to have such a range to work with.

Were you given examples of the look that was wanted?
We looked at newsreel footage from the period and at stills and benefitted from production designer David Gropman‘s research. Then I took stills when we did camera tests with our actors in costume. I worked on those on my computer until we got to a place we all liked.

Stefan Sonnenfeld at Company 3 did the grading for the show and loved it. He gave us a LUT that we used for our dailies. Later, when we did the final grade, we added film grain and refined our look to what it is now.

How early did you get involved in the production?
I spoke with George Clooney and Grant Heslov for the first time four months before we started to shoot. I had eight weeks of prep.

How did you go about choosing the right camera and lenses for this project?
A lot of the scenes were happening in very small spaces. I did a lot of research on smaller cameras, and since we would have a lot of action scenes in those planes, I did not want to use any cameras with a rolling shutter.

I ended up using Arri Alexa Minis with Cooke S4 lenses and also some Flare cameras by IO industries, which could record 4K raw to Q7 Odyssey recorders. We mounted those little ones on the planes whenever they were flying for real. We also used it for the parachute jump.

This is a period piece. How did that affect your choices?
The main effect was the choice of light sources when we shot interiors and night scenes. I love fluorescents, and they existed in the period, but just not in those camps and not in the streets of Rome at night. We used a lot of practicals and smaller sources, which we spread out in the little streets of a small town where we shot, called Viterbo (standing in for Rome).

Another thing I learned was that in those camps at night, lights were blacked out. That meant we were stuck with moonlight and general ambience for night scenes, which we created with HMI sources — sometimes direct if we needed to cover big areas, like when the air base gets attacked at night in Episode 5.

Any challenging scenes that you are particularly proud of or found most challenging? 
In the end of Episode 5, Yossarian’s plane loses both engines in combat and goes down. We see YoYo and others escape the plane, while the pilot takes the plane over water and tries to land it. It’s a very dramatic scene.

We shot some exteriors of the real B25 Mitchell over Sardinia. We mounted camera systems in a DC3 and our second Mitchell to get the shots with the real planes. The destruction on the engines and the additional planes were added in post. The interiors of our actors in the plane were shot at Cinecitta Studios in Rome. We had a fuselage of a real B-25 on a gimbal. The studio was equipped with a 360-degree screen and a giant top light.

In the plane, we shot with a hand-held ARRI Alexa Mini camera. It was only the actors, myself and my focus puller inside. We never altered the physical space of the plane but instead embraced the claustrophobia. We see all of the crew members getting out — only the pilot stays on board. There was so little physical space for our actors since the fuselage was rigged to the gimbal, and then we also had to create the lighting for them to jump into within a couple of feet of space.

Then, when Yossarian leaves the plane, we actually put a small camera on a stuntman while another stuntman in Yossarian’s wardrobe did a real jump. We combined that with some plate shots from a helicopter (with a 3D plane in it) and some shots of our actor on a rig on the backlot of Cinecitta.

It all worked out. It was always our goal to shoot as many real elements as we could and leave the rest with post.

Stepping away from Catch-22. How did you become interested in cinematography?
I grew up in a small town in western Germany. No one in my family had anything to do with film. I loved movies and wanted to work on them as a director. After a little journey, I got an internship at a camera rental in London. It was then I saw for the first time what cinematographers do. I loved it and knew that was it. Then I studied in Berlin, became a focus puller for a couple of years and started working as a DP on music videos, then commercials and then, a little later, films.

What inspires you artistically?
Photography and movies. There is a lot of good work out there by a lot of talented DPs. I love to look at photographers I like as well as some documentary stills like the ones you see in the World Press Photo contest once a year. I love it when it is real. There are so many images around us every day, but if I don’t believe them (where they seem real to me), they are just annoying.

Looking back over the last few years, what new technology has changed the way you work?
Maybe LED lighting and maybe the high sensitivity of today’s digital cameras. You are so much more free in your choice of locations, days and, especially, night work because you can work with fewer lights.

What are some of your best practices or rules you try to follow on each job?
Keep it as simple as you can, and stay true to your vision.

Explain your ideal collaboration with the director when setting the look of a project.
I’m not sure there is just one way to go. After reading the script, you have an idea of what it can be, and then you start getting the information of the where and in what frame you will work.

Martin Ruhe behind the ARRI Alexa.

I love to spend time with my directors in prep — going to the locations, seeing them in different light, like mornings, noon or during night. Then I love to work with stills and sometimes also reference pictures to show what I think it can be and present a way we can get there. It’s always very important to leave some space for things to develop.

What’s your go-to gear — things you can’t live without?
I look for the right gear for each project. I like ARRI cameras, but I’ve also shot two movies with Panavision cameras.

I have shot movies in various countries, and the early ones didn’t have big budgets, so I tried to work with local crew and gear that was available. The thing I like about that is you get to know different ways of doing things, and also you might work with gear you would have never picked yourself. It keeps you flexible. When I start a project, I am trying to develop a feel for the story and the places it lives. Once I have that feel, I start into how and decide what tools I’ll use.

Photo Credit: Philippe Antonello


Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 20 years. 

Yoomin Lee joins MPC London as senior colorist

Yoomin Lee has joined Moving Picture Company’s color team in London. Lee got her start working for some of Australia’s top post houses including Frame Set & Match, The Lab and Cutting Edge, before joining Jogger Studios London in 2016.

While at Jogger, she worked on many campaigns, including those for Google, Valentino, FIFA and Samsung. A collaboration with director Anton Corbijn has seen her grade projects for Depeche Mode and U2, including the visuals for the latter’s The Joshua Tree Tour in 2017, which played across the world’s largest concert screen.

When asked what brings her inspiration, Lee says, “I get inspired by any visual art form, and often from nature, especially for light. I become more observant of how things are lit. Color grading is such a unique art form and technology, and it’s all about details and finesse. I find it very inspiring when I collaborate with creative people who are always eager to push the boundaries to achieve their craft.”

Lee will be working on FilmLight’s Baselight.

You can check out her work here.

Amazon’s Sneaky Pete: DP Arthur Albert on the look of Season 3

By Karen Moltenbrey

Crime has a way of finding Pete Murphy, or should we say Marius Josipovic (Giovanni Ribisi). Marius is a con man who assumed his cellmate’s identity when he was paroled from prison. His plan was twofold: first, pretend to be the still-incarcerated Pete, from whom the family has been estranged for the past 20 years, and hide out on their farm in Connecticut. Second, con the family out of money so he can pay back a brutal mobster (Bryan Cranston, who also produces).

Arthur Albert

Marius’s plan, however, is flawed. The family is lovable, \ quirky and broke. Furthermore, they are in the bail bond business and one of his “cousins” is a police officer — not ideal for a criminal. Ultimately, Marius starts to really care for the family while also discovering that his cover is not that safe.

Similar to how Marius’ plans on Sneaky Pete have changed, so has the show’s production on the current and final Season 3, which is streaming on Amazon now. This season, the story shifts from New York to California, in tandem with the storylines. Blake Masters also took over as showrunner, and cinematographer Arthur Albert (ER, The Blacklist, Breaking Bad, Better Call Saul) came on as director of photography, infusing his own aesthetic into the series.

“I asked Blake if he wanted me to maintain the look they had used previously, and he said he wanted to put his own stamp on it and raise the bar in every department. So, I had free rein to change the look,” notes Albert.

The initial look established for Sneaky Pete had a naturalistic feel, and the family’s bail office was lit with fluorescent lighting. Albert, in contrast, opted for a more cinematic look with portrait-style lighting. “It’s just an aesthetic choice,” he says. “The sets, designed by (Jonathan) Carlson, are absolutely brilliant, and I tried to keep them as rich and layered as possible.”

For Manhattan scenes, Masters wanted a mid-century, modern look. “I made New York moody and as interesting as I could — cooler, more contrasty,” says Albert. When the story shifts to Southern California, Masters asked for a bright, more vibrant look. “There’s a big location change. For this season, you want to feel that change. It’s a big decision for the whole family to pick up their operation and move it, so I wanted the overall look of the show to feel new and different.”

The edginess and feeling of danger, though, comes less from the lighting in this show and more from the camera movement. The use of Steadicam gives it a bit of a stalking feel, serving as a moving viewpoint.

When Albert first met with Masters, they discussed what they thought worked in previous episodes. They liked the ones that used handheld and close-up shots that were wide and close to the actor, but in the end they went with a more traditional approach used by Jon Avnet, who directed four of the 10 episodes this season.

Season 3 was primarily shot with two cameras (Albert’s son, Nick, served as second-unit DP and A-camera operator, and Jordan Keslow, B-camera/Steadicam operator). A fan of Red cameras — Albert used an early incarnation for the last six episodes of ER – he employed Red’s DSMC2 with the new Gemini 5K S35 sensor for Season 3. The Gemini leverages dual sensitivity modes to provide greater flexibility for a variety of shooting environments.

The DP also likes the way it renders skin tones without requiring diffusion. “The color is really true and good, and the dynamic range is great. It held for really bright window areas and really dark areas, both with amazing range,” he says. The interiors of the sets were filmed on a stage in Los Angeles, and the exteriors were shot on location afterward. With the Gemini’s two settings (standard mode for well-lit conditions and a low-light setting), “You can shoot a room where you can barely see anyone, and it looks fully lit, or if it’s a night exterior where you don’t have enough time, money or space to light it, or in a big set space where suddenly you want to shoot high speed and you need more light. You just flip a switch, and you’ve got it. It was very clean with no noise.”

This capability came in handy for a shoot in Central Park at night. The area was heavily restricted in terms of using lights. Albert used the 3200 ISO setting and the entire skyline of 59th Street was visible — the clouds and how they reflected the light of the buildings, the detail of the night sky, the silhouettes of the buildings. In another similar situation, he used the low-light setting of the camera for a night sequence filmed in Grand Central Terminal. “It looked great, warm and beautiful; there is no way we could have lit that vast space at night to accommodate a standard ISO,” says Albert.

As far as lenses on Sneaky Pete, they used the Angenieux short zooms because they are lightweight and compact, can be put on a Steadicam and are easy to hold. “And I like the way they look,” Albert says. He also used the new Sigma prime lenses, especially when an extreme wide angle was needed, and was impressed with their sharpness and lack of distortion.

Throughout filming, the cinematographer relied on Red’s IPP2 (image processing pipeline) in-camera, which resulted in a more effective post process, as it is designed for an HDR workflow, like Sneaky Pete — which is required by Amazon.

The color grade for the series was done at Level 3 Post by Scott Ostrowsky, who had also handled all the previous seasons of Sneaky Pete and with whom Albert had worked with on The Night Shift and other projects. “He shoots a very cinematic look and negative. I know his style and was able to give him that look before he came into the suite. And when we did the reviews together, it was smooth and fast,” Ostrowsky says. “At times Sneaky Pete has a very moody look, and at times it has a very open look, depending on the environment we were shooting in. Some of the dramatic scenes are moody and low-light. Imagine an old film noir movie, only with color. It’s that kind of feel, where you can see through the shadows. It’s kind of inky and adds suspense and anticipation.”

Ostrowsky worked with the camera’s original negative — “we never created a separate stream,” he notes. “It was always from the camera neg, unless we had to send a shot out for a visual effects treatment.”

Sneaky Pete was shot in 5K, from which a 3840×2160 UHD image was extracted, and that is what Ostrowsky color graded. “So, if I needed to use some kind of window or key, it was all there for me,” he says. Arthur or Nick Albert would then watch the second pass with Ostrowsky, who would make any further changes, and then the producers would watch it, adding their notes. Ostrowsky worked used the Blackmagic DaVinci Resolve.

“I want to make the color work for the show. I don’t want the color to distract from the show. The color should tell the story and help the story,” adds Ostrowsky.

While not every change has been for the best for Pete himself since Season 1, the production changes on Sneaky Pete’s last season appear to be working just fine.


Karen Moltenbrey is a veteran VFX and post writer.

Lenovo intros next-gen ThinkPads

Lenovo has launched the next generation of its ThinkPad P Series with the release of five new ThinkPads, including the ThinkPad P73, ThinkPad P53, ThinkPad P1 Gen 2 and ThinkPad P53s and P43s.

The ThinkPad P53 features the Nvidia Quadro RTX 5000 GPU with RT and Tensor cores, offering realtime raytracing and AI acceleration. It now features Intel Xeon and 9th Gen Core class CPUs with up to eight cores (including the Core i9) up to 128GB of memory and 6TB of storage.

This mobile workstation also boasts a new OLED touch display with Dolby Vision HDR for superb color and some of the deepest black levels ever. Building on the innovation behind the ThinkPad P1 power supply, Lenovo is also maximizing the portability of this workstation with a 35 percent smaller power supply. The ThinkPad P53 is designed to handle everything from augmented reality and VR content creation to the deployment of mobile AI or ISV workflows. The ThinkPad P53 will be available in July, starting at $1,799.

At 3.74 pounds and 17.2mm thin, Lenovo’s thinnest and lightest 15-inch workstation — the ThinkPad P1 Gen 2 — includes the latest Nvidia Quadro Turing T1000 and T2000 GPUs. The ThinkPad P1 also features eight-core Intel 9th Gen Xeon and Core CPUs and an OLED touch display with Dolby Vision HDR.

The ThinkPad P1 Gen 2 will be available at the end of June starting at $1,949.

With its 17.3-inch Dolby Vision 4K UHD screen and mobility with a 35% smaller power adaptor, Lenovo’s ThinkPad P73 offers users maximum workspace and mobility. Like the ThinkPad 53, it features the Intel Xeon and Core processors and the most powerful Nvidia Quadro RTX graphics. The ThinkPad P73 will be available in August starting at $1,849.

The ThinkPad P43s features a 14-inch chassis and will be available in July starting at $1,499.

Rounding out the line is the ThinkPad P53s which combines the latest Nvidia Quadro graphics and Intel Core processors — all in a thin and light chassis. The ThinkPad P53s will be available in June, starting at $1,499.

For the first time, Lenovo is adding new X-Rite Pantone Factory Color Calibration to the ThinkPad P1 Gen 2, ThinkPad P53 and ThinkPad P73. The unique factory color calibration profile is stored in the cloud to ensure more accurate recalibration. This profile allows for dynamic switching between color spaces, including sRGB, Adobe RGB and DCI-P3 to ensure accurate ISV application performance.

The entire ThinkPad portfolio is also equipped with advanced ThinkShield security features – from ThinkShutter to privacy screens to self-healing BIOS that recover when attacked or corrupted – to help protect users from every angle and give them the freedom to innovate fearlessly.

Rocketman director Dexter Fletcher on Elton John musical

By Iain Blair

The past year has been huge for British director Dexter Fletcher. He was instrumental in getting Bohemian Rhapsody across the finish line when he was brought in to direct the latter part of the production after Bryan Singer was fired. The result? A $903 million global smash that Hollywood never saw coming.

L-R: Dexter Fletcher and Iain Blair

Now he’s back with Rocketman, another film about another legendary performer and musician, Elton John. But while the Freddie Mercury film was more of a conventional, family-friendly biopic that opted for a PG-13 rating and approach that sidestepped a lot of the darker elements of the singer’s life, Rocketman fully embraces its R-rating and dives headfirst into the sex, drugs and rock ‘n’ roll circus that was Elton’s life at the time — hardly surprisingly, the gay sex scenes have already been censored in Russia.

Conceived as an epic musical fantasy about Elton’s breakthrough years, the film follows the transformation of shy piano prodigy Reginald Dwight into international superstar Elton John. It’s set to Elton’s most beloved songs — performed by star Taron Egerton — and tells the story of how a small-town boy became one of the most iconic figures in pop culture.

Rocketman also stars Jamie Bell as Elton’s longtime lyricist and writing partner, Bernie Taupin; Richard Madden as Elton’s first manager John Reid; and Bryce Dallas Howard as Elton’s mother Sheila Farebrother.

Fletcher started as a child actor, appearing in such films as Bugsy Malone, The Elephant Man and The Bounty before graduating to adult roles in film (Lock, Stock and Two Smoking Barrels) and TV (Band of Brothers). He made his directing debut with 2012’s Wild Bill and has since made a diverse slate of films, including Eddie the Eagle.

I recently met up with him to talk about making the film and his workflow.

When you took this on, were you worried you’d now be seen as the go-to director for films about gay British glam rockers?
(Laughs) No, and I never set out to create this specific cinematic universe about gay British glam rockers. I don’t know how many more of them there are left that people want to see films about — maybe Marc Bolan. That would be the next obvious one.

Dexter Fletcher and Taron Egerton on the set of Rocketman.

What happened was that I was attached early on to direct Bohemian Rhapsody, but then Rocketman came up. While I was preparing that, Bohemian Rhapsody folks came back (after director Bryan Singer was fired during the shoot) and said they needed some help to get it done, so it was more of a coincidence, and Elton’s music is so different from Queen’s.

What sort of film did you set out to make?
Definitely an epic musical, and something that was different and imaginative. The first idea that came up was “based on a true fantasy,” and having done biopics before, like Eddie the Eagle, I know you can’t do them accurately. You simply can’t fit a life into two hours, and there’s always people who nitpick it and go, “He’s wearing the wrong shoes, and it missed this bit” and so on. A biopic isn’t a documentary, and you have to breathe creative life into it. The truth/fantasy element of this was far more important to me in telling Elton’s story than doing a by-the-numbers recreation of his career and life.

Casting was obviously crucial. What did Taron bring to the mix?
A great voice, a great performance, and Elton encouraged him to really make the performance his own. He kept saying, “Do your own thing, don’t just copy me. If they wanted just a copy of my music, they can just buy it. So make it original.”

Taron has this great innate ability of being vulnerable and confident at the same time, and that’s a great gift. He’s able to be very driven and focused and yet retain that inner vulnerability and able to show you both sides clashing, which I felt was very true of Elton.

So Elton gave you a pretty free hand?
Yeah, he did. He sat us down right at the start and said to Taron, “Don’t do an impression of me. No one wants that. Do you, honestly, and that’s what will convince an audience and draw them in.” He was right, and he was extremely giving and generous with us. He’s had this incredible life, and he’s putting it all out there on the big screen, which is pretty brave.

In Bohemian Rhapsody, Rami lipsynced, partly because Freddie Mercury famously had this amazing range that’s so hard to replicate. Taron sang all his vocals?
He did, every note. It was prerequisite for the role, and he wanted to anyway. A musical is very different from a biopic.

You took an imaginative visual approach to the story, especially with all the fantasy elements. How did you collaborate on the look with DP George Richmond, who has shot all your films, whose credits include Tomb Raider and the Kingsman franchise.
He’s got a great eye, and we looked at a lot of the great ‘70s musicals, like The Rose, All That Jazz and Stardust, and there’s this dusty, raw, grainy quality to them. I really wanted to get that feel and texture as this is a period piece and I didn’t want it to look too modern.

So we studied the camera moves and lighting, and it was the same with all the costumes by Julian Day. Elton’s outrageous outfits were the starting point, but we pushed it a little further. So it’s about emotion and how you felt more than just recreating a look or costume or a chronological retelling, and I elaborated as much as possible.

How tough was the shoot?
Fairly grueling. We shot mainly at Bray Studios, outside London, where they shot all the old Hammer Film Productions horror films, and then did some stuff in London.

Where did you post?
We did it at Hireworks in London, which is above this beautiful old cinema, right in the heart of London. It was really conducive for the editing and what we were creating. Then we did all the sound and the mixing round the corner at Goldcrest.

Do you like the post process?
I love it, and I love it more and more now. It’s this whole side of filmmaking that I never really appreciated as an actor, as I didn’t have much to do with it. But now I can’t wait to get in the edit, and I’m there every day, and I’m very involved with every aspect of post.

Talk about editing with Chris Dickens. What were the big editing challenges?
I’d never worked with him before, though we’d met for another project. He was on the set with us at Bray where he had edit rooms set up, so that was very convenient. He’d start assembling and I could just walk over and check on it all. We had a rough assembly just two weeks after we finished shooting, and as I said, I’m very involved.

We’d discuss stuff, especially all the big musical numbers. Those were the big challenges, as you have to make the music and visuals all work together, and you’re working to a playback track. You’re also very exposed when it comes to changing the tempo or rhythm of a scene. You can’t just cut a few words, as you’re locked into the track. And everyone knows the songs. Songs like “Your Song” and “Don’t Let The Sun Go Down On Me” were done totally live, so it was pretty complicated. But Chris is very experienced with all that, as he cut Slumdog Millionaire. That end musical number there is a total triumph of editing.

Talk about the importance of sound and music. I assume Elton was quite involved and listened to everything?
He was very interested, of course, but he let us all do our own thing. Giles Martin, son of Beatles’ producer George Martin, was in charge of the music. He’s an amazing producer in his own right, and he also has a long history with Elton, who stayed at his house when Giles was young. So there’s a very strong relationship there, and that was key in terms of dealing with Elton’s music legacy.

Giles was the custodian of all that and was instrumental in re-imagining all of Elton’s songs in the most interesting ways, and Elton would listen to them and love it. For instance, at first we thought “Crocodile Rock” wouldn’t fit, but we re-did it in this elevated, really hard rock way, and it worked out so well. We recorded at various places, including Abbey Road and Air Studios and, of course, we spent a lot of time and detail on all the music and sound. Just like with ‘Bohemian Rhapsody,’ if you don’t get that right, the film’s not going to work.

Visual effects play a big role. What was involved?
Cinesite in Montreal did them all, with a few by Atomic Arts, and we had a lot of artists and VFX guys working on them. We had so many, from fireworks to scenes with people floating and all the crowd scenes at stadiums, where we had to recreate fans in the ‘70s. So some of that stuff was fairly standard, but they did a brilliant job. I quite like working with VFX, as it allows you to do so much more with a period piece like this.

Where did you do the DI, and how important is it to you?
We did it at Goldcrest with colorist Rob Pizzey, and it’s very important to myself and my DP George Richmond. As I said, we wanted to get a very particular look and texture to it, and George and I worked closely on that from the very outset. Then in the DI, Rob and George worked very closely on it. In fact, George was shooting in Boston at the time, but he flew back to do it and finalize the look. I’m learning so much from him about the DI, and I give my notes and they make all the changes and adjustments. I love the DI.

Did the film turn out the way you hoped?
Absolutely. I’m really happy with it. In fact, it’s turned out better than I hoped.

What’s next?
I don’t have anything lined up. I’m out of work!


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

Behind the Title: DigitalFilm Tree colorist Patrick Woodard

This colorist, who works on episodic TV series, says, “There are so many talented colorists and photographers on Instagram. It’s where I get my daily inspiration.”

NAME: Patrick Woodard

COMPANY: DigitalFilm Tree (@digitalfilmtree)

CAN YOU DESCRIBE YOUR COMPANY?
Independently owned DigitalFilm Tree is a post, consulting and software development company. DFT has played a role in designing post and IT workflows for the media and entertainment industry since 1998.

WHAT WOULD SURPRISE PEOPLE ABOUT WHAT FALLS UNDER THE COLORIST TITLE?
People often think colorists are the finishing artists, but we are often brought on early in the process — during preproduction meetings — to get involved with the other creatives (DPs, directors, producers). Key decisions such as general visual aesthetic, camera choices and on-set lookup tables are typically developed with the colorist input.

WHAT SYSTEM DO YOU WORK ON?
I work on a custom-built Linux workstation running Blackmagic’s DaVinci Resolve.

ARE YOU SOMETIMES ASKED TO DO MORE THAN JUST COLOR ON PROJECTS?
Yes. I get requests that are outside the traditional color category on every job. Requests such as stabilizes, paint-outs, wrinkle removal/beauty, sky replacements and minor compositing have become very common. The challenge is managing time and staying within the color budget.

WHAT’S YOUR FAVORITE PART OF THE JOB?
I love photography, and as a kid I loved the excitement of seeing a roll of film developed. I get that same satisfaction when a scene comes together and everything is working. In addition, I love overcoming creative or technological challenges.

WHAT’S YOUR LEAST FAVORITE?
Most positions in post require a lot of hours and strict deadlines. I have two young children, and it can be challenging juggling work and family life.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I love editing and still photography and would be happy doing either.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?Editing was my main focus, but I found my way to color through my interest in photography. Once I started it felt very natural, and by my second year the two shows I worked on had nominations for Emmys in single-camera cinematography.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
NCIS Los Angeles, American Housewife, I Feel Bad, UnReal and Angie Tribeca.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
NCIS Los Angeles just passed its 10th season, and I feel very fortunate to have worked on it during its run.

WHERE DO YOU FIND INSPIRATION?
I try to watch as many movies and scripted series as possible, and I follow the work of a lot of gifted photographers who also inspire me.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Blackmagic DaVinci Resolve, Boris FX Mocha Pro and Adobe Photoshop.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Instagram. There are so many talented colorists and photographers on Instagram. It’s where I get my daily inspiration.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Outside of work, my life revolves mostly around being in the ocean or hanging at the beach.

Blackmagic intros Teranex Mini SDI to DisplayPort 8K HDR monitor

Blackmagic’s Teranex Mini SDI to DisplayPort 8K HDR, is an advanced 8K monitoring solution that lets you use the new Apple Pro Display XDR as a color-critical reference monitor on set and in post.

With dual on-screen scope overlays, HDR, 33-point 3D LUTs and monitor calibration that’s designed for the pro film and television market, the new Teranex Mini SDI to DisplayPort 8K HDR works with the new generation of monitors, like Apple’s just-announced Pro Display XDR. The Teranex Mini SDI to DisplayPort 8K HDR will be available in October for $1,295.

The Teranex Mini SDI to DisplayPort 8K HDR can use third-party calibration probes to accurately align connected displays for precise color. There are two on-screen scopes that can be selected between WFM, Parade, Vector and Histogram.

The front panel includes controls and a color display for input video, audio meters and the video standard indicator. The rear panel has Quad Link 12G-SDI for HD, Ultra HD and 8K formats. There are two DisplayPort connections for regular computer monitors or USB-C-style DisplayPort monitors, such as the Pro Display XDR. The built-in scaler will ensure the video input standard is scaled to the native resolution of the connected DisplayPort monitor. Customers can even connect both 2SI or Square Division inputs.

Teranex Mini SDI to DisplayPort 8K HDR makes it easy to work in 8K. Users just need only to connect an HDR-compatible DisplayPort monitor to allow HDR SDI monitoring. Static metadata PQ and Hybrid Log Gamma (HLG) formats in the VPID are handled according to the ST2108-1, ST2084 and the ST425 standards.

Teranex Mini SDI to DisplayPort 8K HDR handles ST425, which defines two new bits in the VPID to indicate transfer characteristic of SDR, HLG or PQ. Plus the ST2108-1 standard defines how to transport HDR static or dynamic metadata over SDI. Plus there is support for ST2082-10 for 12G SDI as well as ST425 for 3G-SDI sources. It also supports both Rec.2020 and Rec.709 colorspaces and 100% of the DCI-P3 format.

Features include:
• Support for HDR via SDI and DisplayPort
• Two built-in scopes live overlaid on the monitor
• Film industry quality 33-point 3D LUTs
• Automatic monitor calibration support using color probes
• Advanced Quad Link 12G-SDI inputs for 8K
• Scales input video to the native monitor resolution
• Includes LCD for monitoring and menu settings
• Utility software included for Mac and Windows
• Supports latest 8K DisplayPort monitors and displays
• Can be used on a desktop or rack mounted

Whiskey Cavalier DPs weigh in on the show’s look, DITs

While ABC recently cancelled freshman series Whiskey Cavalier, their on-set workflow is an interesting story to tell. The will-they-won’t-they drama featured FBI agent Will Chase (Scott Foley) and CIA operative Frankie Trowbridge (Lauren Cohan) — his codename is Whiskey Cavalier and hers is Fiery Tribune. The two lead an inter-agency team of spies who travel all over the world, periodically saving the world and each other, all while navigating friendship, romance and office politics.

David “Moxy” Moxness

Like many episodic television shows, Whiskey Cavalier used two cinematographers who alternated episodes so that the directors could work side-by-side with a cinematographer while prepping. David “Moxy” Moxness, CSC, ASC, shot the pilot. Moxness had previously worked on shows like Lethal Weapon, Fringe and Smallville and was just finishing another show when Warner Bros. sent him the pilot script.

“I liked it and took a meeting with director Peter Atencio,” explains Moxness. “We had a great meeting and seemed to be on the same page creatively. For me, it’s so much about collaborating on good shows with great people. Whiskey gave me that feeling.” Sid Sidell, ASC, a friend and colleague of Moxness’, was brought on as the second DP.

While Whiskey Cavalier’s plot has its two main characters traveling all over the world, principal photography took place in Prague. Neither cinematographer had worked there previously, although Moxness had passed through on vacation years before. While prepping and shooting the pilot, Moxness developed the look of the show with director Atencio. “Peter and I had the idea of using the color red when our lead character Will Chase was conflicted emotionally to trigger an emotional response for him,” he explains. “This was a combo platter of set dressing, costumes and lighting. We were very precise about not having the color red in frame other than these times. Also, when the team was on a mission, we kept to a cooler palette while their home base, New York, used warmer tones.”

This didn’t always prove to be straightforward. “You still have to adjust to location surroundings — when scouting for the pilot, I realized Prague still had mostly sodium vapor streetlights, which are not often seen in America anymore,” explains Moxness. “This color was completely opposite to what Peter and I had discussed regarding our nighttime palette, and we had a big car chase over a few nights and in different areas. I knew time and resources would in no way allow us to change or adjust this, and that I would have to work backwards from the existing tones. Peter agreed and we reworked that into our game. For our flashbacks, I shot 35mm 4-perf film with an ARRI IIC hand-cranked camera and Kowa lenses. That was fun! We continued all of these techniques and looks during the series.”

DITs
Mission, a UK-based DIT/digital services provider serving Europe, was brought on to work beside the cinematographers. Mission has an ever-expanding roster of DITs and digital dailies lab operators and works with cinematographers from preproduction onward, safeguarding their color decisions as a project moves from production into post.

Moxness and Sidell hadn’t worked with Mission before, but a colleague of Moxness’ had spoken to him about the experience of working with Mission on a project the year before. This intrigued Moxness, so he was waiting for a chance to work with them.

“When Whiskey chose to shoot in Prague I immediately reached out to Mission’s managing director, Mark Purvis,” explains Moxness. “Mark was enthusiastic about setting us up on Whiskey. After a few conversations to get to know each other, Mark suggested DIT Nick Everett. Nick couldn’t have been a better match for me and our show.”

Interestingly, Sidell had often worked without a DIT before his time on Whiskey Cavalier. He says, “My thoughts on the DP/DIT relationship changed drastically on Whiskey Cavalier. By choice, before Whiskey, I did the majority of my work without a DIT. The opportunity to work alongside Nick Everett and his Mission system changed my view of the creative possibilities of working with a DIT.”

Gear
Whiskey Cavalier was shot with the ARRI Alexa Mini and primarily ARRI Master Prime lenses with a few Angenieux zooms. Both Moxness and Sidell had worked with the Mini numerous times before, finding it ideal for episodic television. The post workflow was simple. On set, Everett used Pomfort’s LiveGrade to set the look desired by the cinematographers. Final color was done at Picture Shop in Los Angeles by senior colorist George Manno.

Moxy (behind camera) and director/EP Peter Atencio (to his right) on the Prague set.

“There are a few inherent factors shooting episodic television that can, and often do, handcuff the DP with regards to maintaining their intended look,” says Moxness. “The shooting pace is very fast, and it is not uncommon for editorial, final color and sometimes even dailies to happen far away from the shooting location. Working with a properly trained and knowledgeable DIT allows the DP to create a desired look and get it into and down the post pipeline to maintain that look. Without a proper solid roadmap, others start to input their subjective vision, which likely doesn’t match that of the DP. When shooting, I feel a strong responsibility to put my thumbprint on the work as I was hired to do. If not, then why was I chosen over others?”

Since successfully working on Whiskey Cavalier in Prague, Mission has set up a local office in Prague, led by Mirek Sochor and dedicated to Mission’s expansion into Central Europe.

And Moxness will be heading back to Prague to shoot Amazon’s The Wheel of Time.

 

Behind the Title: Ntropic Flame artist Amanda Amalfi

NAME: Amanda Amalfi

COMPANY: Ntropic (@ntropic)

CAN YOU DESCRIBE YOUR COMPANY?
Ntropic is a content creator producing work for commercials, music videos and feature films as well as crafting experiential and interactive VR and AR media. We have offices in San Francisco, Los Angeles, New York City and London. Some of the services we provide include design, VFX, animation, color, editing, color grading and finishing.

WHAT’S YOUR JOB TITLE?
Senior Flame Artist

WHAT DOES THAT ENTAIL?
Being a senior Flame artist involves a variety of tasks that really span the duration of a project. From communicating with directors, agencies and production teams to helping plan out any visual effects that might be in a project (also being a VFX supervisor on set) to the actual post process of the job.

Amanda worked on this lipstick branding video for the makeup brand Morphe.

It involves client and team management (as you are often also the 2D lead on a project) and calls for a thorough working knowledge of the Flame itself, both in timeline management and that little thing called compositing. The compositing could cross multiple disciplines — greenscreen keying, 3D compositing, set extension and beauty cleanup to name a few. And it helps greatly to have a good eye for color and to be extremely detail-oriented.

WHAT MIGHT SURPRISE PEOPLE ABOUT YOUR ROLE?
How much it entails. Since this is usually a position that exists in a commercial house, we don’t have as many specialties as there would be in the film world.

WHAT’S YOUR FAVORITE PART OF THE JOB?
First is the artwork. I like that we get to work intimately with the client in the room to set looks. It’s often a very challenging position to be in — having to create something immediately — but the challenge is something that can be very fun and rewarding. Second, I enjoy being the overarching VFX eye on the project; being involved from the outset and seeing the project through to delivery.

WHAT’S YOUR LEAST FAVORITE?
We’re often meeting tight deadlines, so the hours can be unpredictable. But the best work happens when the project team and clients are all in it together until the last minute.

WHAT IS YOUR MOST PRODUCTIVE TIME OF THE DAY?
The evening. I’ve never been a morning person so I generally like the time right before we leave for the day, when most of the office is wrapping up and it gets a bit quieter.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Probably a tactile art form. Sometimes I have the urge to create something that is tangible, not viewed through an electronic device — a painting or a ceramic vase, something like that.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I loved films that were animated and/or used 3D elements growing up and wanted to know how they were made. So I decided to go to a college that had a computer art program with connections in the industry and was able to get my first job as a Flame assistant in between my junior and senior years of college.

ANA Airlines

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Most recently I worked on a campaign for ANA Airlines. It was a fun, creative challenge on set and in post production. Before that I worked on a very interesting project for Facebook’s F8 conference featuring its AR functionality and helped create a lipstick branding video for the makeup brand Morphe.

IS THERE A PROJECT THAT YOU ARE MOST PROUD OF?
I worked on a spot for Vaseline that was a “through the ages” concept and we had to create looks that would read as from 1880s, 1900, 1940s, 1970s and present day, in locations that varied from the Arctic to the building of the Brooklyn Bridge to a boxing ring. To start we sent the digitally shot footage with our 3D and comps to a printing house and had it printed and re-digitized. This worked perfectly for the ’70s-era look. Then we did additional work to age it further to the other eras — though my favorite was the Arctic turn-of-the-century look.

NAME SOME TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Flame… first and foremost. It really is the most inclusive software — I can grade, track, comp, paint and deliver all in one program. My monitors — the 4K Eizo and color-calibrated broadcast monitor, are also essential.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Mostly Instagram.

DO YOU LISTEN TO MUSIC WHILE YOU WORK? 
I generally have music on with clients, so I will put on some relaxing music. If I’m not with clients, I listen to podcasts. I love How Did This Get Made and Conan O’Brien Needs a Friend.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Hiking and cooking are two great de-stressors for me. I love being in nature and working out and then going home and making a delicious meal.

Behind the Title: Editor and colorist Grace Novak

One of her favorite parts of the job is when she encounters a hard edit and it finally clicks and falls into place.

NAME: New York-based Grace Novak

WHAT’S YOUR JOB TITLE?
Editor and Colorist

WHAT DOES THAT ENTAIL?
I work with directors/clients to make their project come to life using an editing program. Then during the color process, I bring it even closer to their aesthetic vision.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
It can include a lot of not-so-creative work like troubleshooting and solving technical problems, especially when doing assistant color/edit work either for myself or for someone else.

WHAT’S YOUR FAVORITE PART OF THE JOB?
I love the great moment when you push through a hard edit and it finally clicks. I also love getting to collaborate with other great creators and filmmakers and working one-on-one in the editing room. I find it to be a great learning experience.

WHAT’S YOUR LEAST FAVORITE?
When nothing works and I don’t know why. But, luckily, once I figure it out (eventually, hours later sometimes) I’ve learned to solve a new issue.

WHAT IS YOUR MOST PRODUCTIVE TIME OF THE DAY?
Definitely the mornings once I’ve had some coffee. I’m a morning person who is most active around the hours of 8-11. Once lunch hits, it can be hard not to want to take a good midday nap.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
When I was younger, for some reason, I told everyone I wanted to be a barber. I think that’s because I liked using scissors. Seriously, though, I’d probably be working with kids in some way or as an educator. I still hope to teach down the road.

WHY DID YOU CHOOSE THIS PROFESSION?
I knew I wanted a job where I could be creative, and with editing I can also be technically proficient. I love the combination of the two.

Dissonance

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I always knew I wanted to be involved with film, probably since I was 12. I remember starting to edit on Windows Movie Maker and being enamored with the effects. I especially liked the really awful and gaudy one that went through a gradient of colors. Don’t worry, I would never use something like that now.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
I’m working on a lot of short indie films right now including Dissonance, Bogalusa and Siren. I’m also an assistant editor on the feature film The Outside Story.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
Dissonance, a short experimental film that is currently in color right now (with me), is probably the most proud I am of a project purely because of how far it pushed me as an artist, editor and collaborator.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I follow a lot, but in the post world that includes postPerspective, BCPC and Jonny Elwyn.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
If I can, I like to listen to podcasts. That’s probably my primary podcast listening time besides at the gym. Obviously, I can only do this during my color work. For music, I like tunes that aren’t too upbeat and more relaxing. For podcasts I like to listen to either comedians or Reply All, Blank Check and Reveal.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I like to read and play video games. I also started to do cross-stitch recently and it’s nice to find a way to use my hands that doesn’t involve a computer or a controller. I make sure to exercise a lot as well because I find that helps my stress levels like nothing else can.

Picture Shop acquires Vancouver-based Finalé

Picture Shop has acquired Finalé Post in Vancouver. Burbank-based Picture Shop, which provides finishing and VFX work for episodic television, including The Walking Dead, NCIS, Hawaii Five-0 and Chilling Adventures of Sabrina, had been looking to make an expansion into the Vancouver market. The company will be branded Finalé, a Picture Shop company.

“Having a Vancouver-based location has always been a strategy of ours, but it was very important to find the right company,” says Picture Shop president Bill Romeo. “We are thrilled to incorporate Finalé into the Picture Shop family. With the amount of content being produced, our goal is to always have strategic locations that support our clients’ needs but still maintain our company’s philosophy — creating an experience with the highest level of service and a creative partnership with our clients.”

Launched in 1988 by Finalé CEO and industry veteran Don Thompson, Finalé is located in the center of Vancouver and has served most major studios. Finalé offers a host of post production services, ranging from digital dailies and color, through 4K HDR finishing and editorial. It also offers mobile dailies and editorial rentals in Toronto and other major Canadian production centers. Finalé’s credits include Descendants 3, iZombie, Tomorrowland and The Magicians.

Main Image: ( L-R) Picture Shop’s Tom Kendall and Robert Glass, Finalé’s Don Thompson, Picture Shop’s Bill Romeo and Finalé’s Andrew Jha.

 

Review: CyberPower PC workstation with AMD Ryzen

By Brady Betzel

With the influx of end users searching for alternatives to Mac Pros, as well as new ways to purchase workstation-level computing solutions, there is no shortage of opinions on what brands to buy and who might build it. Everyone has a cousin or neighbor that builds systems, right?

I’ve often heard people say, “I’ve never built a system or used (insert brand name here), but I know they aren’t good.” We’ve all run into people who are dubious by nature. I’m not so cynical, and when it comes to operating and computer systems, I consider myself Switzerland.

When looking for the right computer system, the main question you should ask is, “What do you need to accomplish?” Followed by, “What might you want to accomplish in the future?” I’m a video editor and colorist, so I need the system I build to work fluidly with Avid Media Composer, Blackmagic DaVinci Resolve and Adobe’s Premiere and After Effects. I also want my system to work with Maxon Cinema 4D in case I want to go a little further than Video Copilot’s Element 3D and start modeling in Cinema 4D. My main focus is video editing and color correction but I also need flexibility for other tools.

Lately, I’ve been reaching out to companies in the hopes of testing as many custom-built Windows -based PCs as possible. There have been many Mac OS-to-Windows transplants over the past few years, so I know pros are eager for options. One of the latest seismic shifts have come from the guys over at Greyscalegorilla moving away from Mac to PCs. In particular, I saw that one of the main head honchos over there, Nick Campbell (@nickvegas), went for a build complete with the Ryzen Threadripper 32-core workhorse. You can see the lineup of systems here. This really made me reassess my thoughts on AMD being a workstation-level processor, and while not everyone can afford the latest Intel i9 or AMD Threadripper processors, there are lower-end processors that will do most people just fine. This is where the custom-built PC makers like CyberPower PC, who equip machines with AMD processors, come into play.

So why go with a company like CyberPowerPC? The prices for parts are usually competitive, and the entire build isn’t much more than if you purchased the parts by themselves. Also, you deal with CyberPower PC for Warranty issues and not individual companies for different parts.

My CustomBuild
In my testing of an AMD Ryzen 7 1700x-based system with a Samsung NVMe hard drive and 16GB of RAM, I was able to run all of the software I mentioned before. The best part was the price; the total was around, $1,000! Not bad for someone editing and color correcting. Typically those machines can run anywhere from $2,000 to $10,000. Although the parts in those more expensive systems are more complex and have double to triple the amount of cores, some of that is wasted. And when on a budget you will be hard-pressed to find a better deal than CyberPower PC. If you build a system yourself, you might get close but not far off.

While this particular build isn’t going to beat out the AMD Threadripper’s or Intel i9-based systems, the AMD Ryzen-based systems offer a decent bang for the buck. As I mentioned, I focus on video editing and color correcting so I tested a simple one-minute UHD (3840×2160) 23.98 H.264 export. Using Premiere along with Adobe’s Media Encoder, I used about :30 seconds of Red UHD footage as well as some UHD S-log3/s-gamut3 footage I shot on the Sony a7 III creating a one-minute long sequence.

I then exported it as an H.264 at a bitrate around 10Mb/s. With only a 1D LUT on the Sony a7iii footage, the one-minute sequence took one minute 13 seconds. With added 10% resizes and a “simple” Gaussian blur over all the clips, the sequence exported in one minute and four seconds. This is proof that the AMD GPU is working inside of Premiere and Media Encoder. Inside Premiere, I was able to playback the full-quality sequence on a second monitor without any discernible frames dropping.

So when people tell you AMD isn’t Intel, technically they are right, but overall the AMD systems are performing at a high enough level that for the money you are saving, it might be worth it. In the end, with the right expectations and dollars, an AMD-based system like this one is amazing.

Whether you like to build your own computer or just don’t want to buy a big-brand system, custom-built PCs are a definite way to go. I might be a little partial since I am comfortable opening up my system and changing parts around, but the newer cases allow for pretty easy adjustments. For instance, I installed a Blackmagic DeckLink and four SSD drives for a RAID-0 setup inside the box. Besides wishing for some more internal drive cages, I felt it was easy to find the cables and get into the wiring that CyberPowerPC had put together. And because CyberPowerPC is more in the market for gaming, there are plenty of RGB light options, including the memory!

I was kind of against the lighting since any color casts could throw off color correction, but it was actually kind of cool and made my setup look a little more modern. It actually kind of got my creativity going.

Check out the latest AMD Ryzen processors and exciting improvements to the Radeon line of graphics cards on www.cyberpowerpc.com and www.amd.com. And, hopefully, I can get my hands on a sweet AMD Ryzen Threadripper 2990WX with 32 cores and 64 threads to really burn a hole in my render power.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

VFX house a52 launches a52 Color

Santa Monica-based visual effects studio a52 has launched a new custom-built space called a52 Color. It focuses on color grading and finishing. a52 Color is now home to a52 colorist Paul Yacono and new hire Daniel de Vue, who joins from London where he was head of color at Glassworks. a52 Color is able to offer clients access to combined or end-to-end services from its network of affiliated companies, which include Rock Paper Scissors, a52 VFX and Elastic.

“Color has been an offering within a52 with Paul Yacono for over half a decade, so it’s already an established part of the culture here,” explains executive producer Thatcher Peterson, who now runs with a52 after coming over from a four-year stint as EP at The Mill. “And with Daniel joining us from London, the distinction of a52 Color to become a separate entity thrusts our services and talent into its own spotlight.”

Yacono’s first major color project of out a52, was the Netflix series House of Cards, which proved that this boutique facility had the bandwidth to service high-volume 4K projects. Since that time, Yacono has established a body of work that ranges from ads for Target, Nike and BMW to the iconic title sequence for Game of Thrones. Yacono’s latest work includes the feature documentaries Struggle: The Life and Art of Szukalski, 13th, Amanda Knox, the TV miniseries Five Came Back and spots for Toyota, Prada, Samsung and Lexus.

Danish colorist de Vue has worked for directors such as Martin Werner, Martin de Thurah, Andreas Nilsson and Wally Pfister, and crafted the mood for brands such as Nike, Principal Financial, Vans, Mercedes, Toyota, Adidas, H&M and Xbox. Recently he graded an Elliot Rausch-directed TUMI spot featuring Lenny Kravitz and Zoë Kravitz on a journey to their family’s Bahamian roots.

Equipped for theatrical and broadcast color grading, the studio boasts two suites outfitted with FilmLight Baselight grading systems and is equipped for HDR with Dolby Vision certification. Additionally, remote grading services are also available throughout the US and internationally.

EP Peterson was at Company 3 for over 15 years, where he helped grow their core business from commercials to features and television.

As company founder Angus Wall, also an Oscar-winning editor for The Girl With the Dragon Tattoo, explains, “In adding high-end color and DI to our suite of companies, a52 Color completes our offerings for end-to-end, best of breed creative services.”

Goldcrest Post hires industry vet Dom Rom as managing director

Domenic Rom, a veteran of the New York post world, has joined Goldcrest Post as managing director. In this new role, he will oversee operations, drive sales and pursue growth strategies for Goldcrest, a provider of post services for film and television. Rom was most recently president/GM of Deluxe TV Post Production Services in LA.

“Domenic is a visionary leader who brings a client-centric approach toward facility management, and understands the industry’s changing dynamics,” says Goldcrest Films owner/executive director Nick Quested. “He inspires his team to perform at a peak level and deliver the quality services our clients expect.”

In his previous position, Rom led Deluxe’s global services for television, including its subsidiaries Encore and Level 3. Prior to that, he was managing director of Deluxe’s New York studio, which included East Coast operations for Encore, Company 3 and Method. He was SVP at Technicolor Creative Services for three years and an executive at Postworks for 11. Rom began his career as a colorist at DuArt Film Labs, eventually becoming executive VP in charge of its digital and film labs.

Rom says that he looks forward to working with Goldcrest Post’s management team, including head of production Gretchen McGowan and head of picture Jay Tilin. “We intend to be a very client-oriented facility,” he notes. “When clients walk in the door, they should feel at home, feel that this is their place. Jay and Gretchen both get that. We will work together very closely to ensure Goldcrest is a solid, responsive facility.”

He is also very happy about being back in New York City. “New York is my home,” says Rom. “When I decided to come back to the city just walking around town made me feel alive again. The New York market is so tight, the energy so high it just felt right. The people are real, the clients are amazing and the work is equal to anywhere in the world. I don’t regret a second of the past few years… I expanded my knowledge of other markets and made life-long friendships all over the world. At the end of the day though, my family and my work family are in New York.”

Recent projects for Goldcrest include the Netflix series Russian Doll and the independent features Sorry to Bother You, The Miseducation of Cameron Post, Native Son and High Flying Bird.

Sugar Studios LA gets social for celebrity-owned Ladder supplement

Sugar Studios LA completed a social media campaign for Ladder perfect protein powder and clean energy booster supplements starring celebrity founders Arnold Schwarzenegger, LeBron James, DJ Khaled, Cindy Crawford and Lindsey Vonn. The playful ad campaign focuses on social media, foregoing the usual TV commercial push and pitching the protein powder directly to consumers.

One spot shows Arnold in the gym annoyed by a noisy dude on the phone, prompting him to turn up his workout soundtrack. Then DJ Khaled is scratching encouragement for LeBron’s workout until Arnold drowns them out with his own personal live oompah band.

The ads were produced and directed by longtime Schwarzenegger collaborator Peter Grigsby, while Sugar Studios’ editor Nico Alba (Chevrolet, Ferrari, Morongo Casino, Mattel) cut the project using Adobe Premiere. When asked about using random spot lengths, as opposed to traditional :15s, :30s, and :60s, Alba explains, “Because it’s social media, we’re not always bound to those segments of time anymore. Basically, it’s ‘find the story,’ and because there are no rules, it makes the storytelling more fun. It’s a process of honing everything down without losing the rhythm or the message and maintaining a nice flow.”

Nico Alba and Jijo Reed. Credit: David Goggin

“Peter Grigsby requested a skilled big-brand commercial editor on this campaign,” Reed says. “Nico was the perfect fit to create that rhythm and flow that only a seasoned commercial editor could bring to the table.”

“We needed a heavy-weight gym ambience to set the stage,” says Alba, who worked closely with sound design/mixers Bret Mazur and Troy Ambroff to complement his editing. “It starts out with a barrage of noisy talking and sounds that really irritate Arnold, setting up the dueling music playlists and the sonic payoff.”

The audio team mixed and created sound design with Avid Pro tools Ultimate. Audio plugins called on include Waves Mercury bundle,, DTS Surround tools and iZotope RX7 Advanced.

The Sugar team also created a cinematic look to the spots, thanks to colorist Bruce Bolden, who called on Blackmagic DaVinci Resolve and a Sony BVM OLED monitor. “He’s a veteran feature film colorist,” says Reed, “so he often brings that sensibility to advertising spots as well, meaning rich blacks and nice, even color palettes.”

Storage used at the studio is Avid Nexis and Facilis Terrablock.

Tony Dustin joins Efilm as senior colorist

Tony Dustin has joined the Deluxe Creative Services team as senior colorist at Hollywood’s  Efilm. He will also be doing some work for sister company Encore. With more than 20 years of experience in color grading, Dustin’s work spans styles and genres, with a talent for revealing details in the darker palettes of many of his projects. He will be using Blackmagic DaVinci Resolve.

Dustin’s credits include the Netflix dramatic series Sense8, for which he was nominated for an HPA Award; Hulu horror series Castle Rock; Best Picture Academy Award-nominee Silver Linings Playbook, directed by David O. Russell; and Gran Torino, directed by Clint Eastwood.

Dustin’s first project for Efilm is the biographical drama Harriet, working with Oscar-winning cinematographer John Toll, with whom Dustin previously collaborated with on Sense8.

He comes to Efilm from Technicolor, where he spent nearly 17 years. He’s also held various color-centric roles at Westwind Media and Efilm sister company Encore. Dustin got his start in post by discovering the color grading process through his work in the vault at Editel while attending college. Having spent many hours developing negatives in a photo lab as a youth, Dustin has a well-honed eye and deep appreciation for cinematic visuals.

Little’s dailies-to-ACES finishing workflow via FotoKem

FotoKem’s Atlanta and Burbank facilities both worked on the post production — from digital dailies through finishing with a full ACES finish — for Universal Pictures’ and Legendary Entertainment’s film, Little.

From producer Will Packer (Girls Trip, Night School, the Ride Along franchise) and director/co-writer Tina Gordon (Peeples, Drumline), Little tells the story of a tech mogul (Girls Trip’s Regina Hall) who is transformed into a 13-year-old version of herself (Marsai Martin) and must rely on her long-suffering assistant (Insecure’s Issa Rae) just as the future of her company is on the line.

Martin, who stars in the TV series Black-ish, had the idea for the film when she was 10 and acts as an executive producer on the film.

Principal photography for Little took place last summer in the Atlanta area. FotoKem’s Atlanta location provided digital dailies, with looks developed by FotoKem colorist Alastor Arnold alongside cinematographer Greg Gardiner (Girls Trip, Night School), who shot with Sony F55 cameras.

Cinematographer Greg Gardiner on set.

“Greg likes a super-clean look, which we based on Sony color science with a warm and cool variant and a standard hero LUT,” says Arnold. “He creates the style of every scene with his lighting and photography. We wanted to maximize his out-of-the-camera look and pass it through to the grading process.”

Responding to the sharp growth of production in Georgia, FotoKem entered the Atlanta market five years ago to offer on-the-ground support for creatives. “FotoKem Atlanta is an extension of our Burbank team with colorists and operations staff to provide the upfront workflow required for file-based dailies,” says senior VP Tom Vice of FotoKem’s creative services division.

When editor David Moritz and the editorial team moved to Los Angeles, FotoKem sent EDLs to its nextLAB dailies platform, the facility’s proprietary digital file management system, where shots for VFX vendors were transcoded as ACES EXR files with full color metadata. Non-VFX shots were also automatically pulled from nextLAB for conform. The online was completed in Blackmagic Resolve.

The DI and the film conform happened concurrently, with Arnold and Gardiner working together daily. “We had a full ACES pipeline, with high dynamic range and high bit rate, which both Greg and I liked,” Arnold says. “The film has a punchy, crisp chromatic look, but it’s not too contemporary in style or hyper-pushed. It’s clean and naturalistic with an extra chroma punch.”

Gordon was also a key part of the collaboration, playing an active role in the DI, working closely with Gardiner to craft the images. “She really got into the color aspect of the workflow,” notes Arnold. “Of course, she had a vision for the movie and fully embraced the way that color impacts the story during the DI process.”

Arnold’s first pass was for the theatrical grade and the second for the HDR10 grade. “What I like about ACES is the simplicity of transforming to different color spaces and working environments. And the HDR grade was a quicker process,” he says. “HDR is increasingly part of our deliverables, and we’re seeing a lot more ACES workflows lately, including work on trailers.”

FotoKem’s deliverables included a DCP, DCDM and DSM for the theatrical release; separations and .j2k files for HDR10 archiving; and ProRes QuickTime files for QC.

Review: Avid Media Composer Symphony 2018 v.12

By Brady Betzel

In February of 2018, we saw a seismic shift in the leadership at Avid. Chief executive officer Louis Hernandez Jr. was removed and subsequently replaced by Jeff Rosica. Once Rosica was installed, I think everyone who was worried Avid was about to be liquidated to the highest bidder breathed a sigh of temporary relief. Still unsure whether new leadership was going to right a tilting ship, I immediately wanted to see a new action plan from Avid, specifically on where Media Composer and Symphony were going.

Media Composer with Symphony

Not long afterward, I was happily reading how Avid was taking lessons from its past transgressions and listening to its clients. I heard Avid was taking tours around the industry and listening to what customers and artists needed from them. Personally, I was asking myself if Media Composer with Symphony would ever be the finishing tool of Avid DS was. I’m happy to say, it’s starting to look that way.

It appears from the outside that Rosica is indeed the breath of fresh air Avid needed. At NAB 2019, Avid teased the next iteration of Media Composer, version 2019, with overhauled interface and improvements, such as a 32-bit float color pipeline workflow complete with ACES color management and a way to deliver IMF packages; a new engine with a distributed processing engine; and a whole new product called Media Composer|Enterprise, all of which will really help sell this new Media Composer. But the 2019 update is coming soon and until then I took a deep dive into Media Composer 2018 v12, which has many features editors, assistants, and even colorists have been asking for: a new Avid Titler, shape-based color correction (with Symphony option), new multicam features and more.

Titling
As an online editor who uses Avid Media Composer with Symphony option about 60% of the time, titling is always a tricky subject. Avid has gone through some rough seas when dealing with how to fix the leaky hole known as the Avid Title Tool. The classic Avid Title Tool was basic but worked. However, if you aligned something in the Title Tool interface to Title Safe zones, it might jump around once you close the Title Tool interface. Fonts wouldn’t always stay the same when working across PC and MacOS platforms. The list goes on, and it is excruciatingly annoying.

Titler

Let’s take a look at some Avid history: In 2002, Avid tried to appease creators and introduced the, at the time, a Windows-only titler: Avid Marquee. While Marquee was well-intentioned, it was extremely difficult to understand if you weren’t interested in 3D lighting, alignment and all sorts of motion graphics stuff that not all editors want to spend time learning. So, most people didn’t use it, and if they did it took a little while for anyone taking over the project to figure out what was done.

In December of 2014, Avid leaned on the New Blue Titler, which would work in projects higher than 1920×1080 resolution. Unfortunately, many editors ran into a very long render at the end, and a lot bailed on it. Most decided to go out of house and create titles in Adobe Photoshop and Adobe After Effects. While this all relates to my experience, I assume others feel the same.

In Avid Media Composer 2018, the company has introduced the Avid Titler, which in the Tools menu is labeled: Avid Titler +. It works like an effect rather than a rendered piece of media like in the traditional Avid Title Tool, where an Alpha and a Fill layer worked. This method is similar to how NewBlue or Marquee functioned. However, Avid Titler works by typing directly on the record monitor; adding a title is as easy as marking an in and out point and clicking on the T+ button on the timeline.

You can specify things like kerning, shadow, outlines, underlines, boxes, backgrounds and more. One thing I found peculiar was that under Face, the rotation settings rotate individual letters and not the entire word by default. I reached out to Avid and they are looking into making the entire word rotation option the default in the mini toolbar of Avid Titler. So stay tuned.

Also, you can map your fast forward and rewind buttons to “Go To Next/Previous Event.” This allows you to jump to your next edits in the timeline but also to the next/previous keyframes when in the Effect Editor. Typically, you click on the scrub line in the record window and then you can use those shortcuts to jump to the next keyframe. In the Avid Titler, it would just start typing in the text box. Furthermore, when I wanted to jump out of Effect Editor mode and back into Edit Mode, I usually hit “y,” but that did not get me out of Effects Mode (Avid did mention they are working on updates to the Avid Titler that would solve this issue). The new Avid Titler definitely has some bugs and/or improvements that are needed, and they are being addressed, but it’s a decent start toward a modern title editor.

Shape-based color correction

Color
If you want advanced color correction built into Media Composer, then you are going to want the Symphony option. Media Composer with the Symphony option allows for more detailed color correction using secondary color corrections as well as some of the newer updates, including shape-based color correction. Before Resolve and Baselight became more affordable, Symphony was the gold standard for color correction on a budget (and even not on a budget since it works so well in the same timeline the editors use). But what we are really here for is the 2018 v.12 update of Shapes.

With the Symphony option, you can now draw specific regions on the footage for your color correction to affect. It essentially works similarly to a layer-based system like Adobe Photoshop. You can draw shapes with the same familiar tools you are used to drawing with in the Paint or AniMatte tools and then just apply your brightness, saturation or hue swings in those areas only. On the color correction page you can access all of these tools on the right-hand side, including the softening, alpha view, serial mode and more.

When using the new shape-based tools you must point the drop-down menu to “CC Effect.” From there you can add a bunch of shapes on top of each other and they will play in realtime. If you want to lay a base correction down, you can specify it in the shape-based sidebar, then click shape and you can dial in the specific areas to your or your client’s taste. You can check off the “Serial Mode” box to have all corrections interact with one another or uncheck the box to allow for each color correction to be a little more isolated — a really great option to keep in mind when correcting. Unfortunately, tracking a shape can only be done in the Effect Editor, so you need to kind of jump out of color correction mode, track, and then go back. It’s not the end of the world, but it would be infinitely better if you could track efficiently inside of the color correction window. Avid could even take it further by allowing planar tracking by an app like Mocha Pro.

Shape-based color correction

The new shape-based corrector also has an alpha view mode identified by the infinity symbol. I love this! I often find myself making mattes in the Paint tool, but it can now be done right in the color correction tool. The Symphony option is an amazing addition to Media Composer if you need to go further than simple color correction but not dive into a full color correction app like Baselight or Resolve. In fact, for many projects you won’t need much more than what Symphony can do. Maybe a +10 on the contrast, +5 on the brightness and +120 on the saturation and BAM a finished masterpiece. Kind of kidding, but wait until you see it work.

Multicam
The final update I want to cover is multicam editing and improvements to editing group clips. I cannot emphasize enough how much time this would have saved me as an assistant editor back in the pre-historic Media Composer days… I mean we had dongles, and I even dabbled in the Meridian box. Literally days of grouping and regrouping could have been avoided with the Edit Group feature. But I did make a living fixing groups that were created incorrectly, so I guess this update is a Catch 22. Anyway, you can now edit groups in Media Composer by creating a group, right-clicking on that group and selecting Edit Group. From there, the group will now open in the Record Monitor as a sequence, and from there you can move, nudge and even add cameras to a previously created group. Once you are finished, you can update the group and refresh any sequences that used that group to update if you wish. One issue is that with mixed frame rate groups, Avid says committing to that sequence might produce undesirable effects.

Editing workspace

Cost of Entry
How much does Media Composer cost these days? While you can still buy it outright, it seems a bit more practical to go monthly since you will automatically get updates, but it can still be a little tricky. Do you need PhraseFind and/or ScriptSync? Do you need the Symphony option? Do you need to access shared storage? There are multiple options depending on your needs. If you want everything, then Media Composer Ultimate for $49 per month is what you want. If you want Media Composer and just one add-on, like Symphony, it will cost $19 per month plus $199 per year for the Symphony option. If you want to test the water before jumping in, you can always try Media Composer First.

For a good breakdown of the Media Composer pricing structure, check out KeyCode Media  page (a certified reseller). Another great link with tons of information organized into easily digestible bites is this. Additionally, www.freddylinks.com is a great resource chock full of everything else Avid, written by Avid technical support specialist Fredrik Liljeblad out of Sweden.

Group editing

Summing Up
In the end, I use and have used Media Composer with Symphony for over 15 years, and it is the most reliable nonlinear editor supporting multiple editors in a shared network environment that I have used. While Adobe Premiere Pro, Apple Final Cut Pro X and Blackmagic Resolve are offering fancy new features and collaboration modes, Avid seems to always hold stabile when I need it the most. These new improvements and a UI overhaul (set to debut in May), new leadership from Rosica, and the confidence of Rosica’s faithful employees all seem to be paying off and getting Avid back on the track they should have always been on.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Colorist Peter Doyle joins Warner Bros. De Lane Lea’s picture services division

World-renown and respected supervising colorist Peter Doyle, whose large body of work includes The Lord of the Rings trilogy, has joined London’s Warner Bros. De Lane Lea’s (WBDLL) new picture services division. Doyle brings with him extensive technical and creative expertise acquired over a 40-year career.

Doyle has graded 12 of the 100 highest-grossing films of all time including the Harry Potter film series. His recent credits include Darkest Hour (see our interview with him here), The Ballad of Buster Scruggs and both Fantastic Beasts films.

Doyle will be working alongside BAFTA-winning colorist Asa Shoul (Mission Impossible: Fallout, Baby Driver, Amazon’s Tin Star), who joined WBDLL at the end of last year. The additions of Doyle and Shoul beef up WBDLL’s picture division to match the studio’s sound facilities De Lane Lea.

Speaking of joining the company, Doyle says, “I first worked with Warner Bros. on The Matrix in 1999. Since then, grading and delivering films to Warner Bros. for filmmakers such as Tim Burton, David Yates, Dick Zanuck and David Heyman has always felt like a partnership. Warner Bros. always brought tremendous passion to the projects and a deep desire to best represent the creative intent of the filmmakers. WBDLL represents a third-generation post facility; it’s been conceived with the philosophy that origination and delivery are part of the same process. It’s managed by a newly assembled crew that over the course of their careers have answered some of the most complex post production challenges the industry has devised. WBDLL is an environment and indeed a concept I feel London has needed for many years.”

The new facilities at WBDLL include two 4K HDR FilmLight Baselight X grading theatres, Autodesk Flame online suites, digital dailies facilities, dark fiber connectivity and a mastering and QC department. WBDLL has additional facilities based at Warner Bros. Studios Leavesden, including a 50-seat 4K screening room, 4K VFX review theater and in-facility and on-location digital dailies, offering clients a full end-to-end service.

WBDLL has been the choice for many large features including Dumbo, Wonder Woman, Three Billboards Outside Ebbing, Missouri, Fantastic Beasts, Early Man, Mission Impossible: Fallout and Outlaw King. Its roster of high-end TV clients include Netflix, Amazon, Starz, BBC and ITV.

Last year the company announced it was cementing its future in Soho by moving to the purpose-built Ilona Rose House in 2021, which is currently under construction.

Keep Me Posted adds senior colorist Aidan Stanford

Burbank’s Keep Me Posted, a FotoKem company specializing in creative and technical episodic post services, has brought Aidan Stanford as senior colorist. He will work on episodic and feature projects.

With over 25 years of experience, Stanford’s work history ranges from photochemical color timing to digital color grading and includes DI, broadcast, commercials and shorts. His varied background includes color timing 65mm film for Lawrence of Arabia (IMAX 2002 restoration/release); the DI, HDR and all video deliverables for the Oscar-winning Get Out; and multiple seasons of Emmy Award-winning television series. His credits include the features Happy Death Day, Insidious: The Last Key and Benji and his episodic credits include Modern Family, Drunk History, You’re the Worst and Fresh Off the Boat.

At Keep Me Posted, Stanford will be working on Nucoda and Resolve.

“Aidan brings a deep knowledge of film, an artistic eye and a keen technical ability to help our creative customers bring their vision to reality,” says Mike Brodersen, FotoKem’s chief strategy officer. “His comprehensive skill set in combination with his expertise in color have made him a trusted collaborator with many filmmakers and showrunners.”

Collaboration company Pix acquires Codex

Pix has reached an agreement to acquire London-based Codex, in a move that will enable both companies to deliver a range of new products and services, from streamlined camera capture to post production finishing.

The Pix System  is a collaboration tool that provides industry pros with secure access to production content on mobile devices, laptops or TVs from offices, homes or while traveling. They won an Oscar for its technology in 2019.

Codex products include recorders and media processing systems that transfer digital files and images from the camera to post, and tools for color dynamics, dailies creation, archiving, review and digital asset management.

“Our clients have relied on Pix to protect their material and ideas throughout all phases of production. In Codex, we found a group that similarly values relationships with attention to critical details,” explains Pix founder/CEO Eric Dachs. “Codex will retain its distinct brand and culture, and there is a great deal we can do together for the benefit of our clients and the industry.”

Over the years, Pix and Codex have seen wide industry adoption, delivering a proven record of contributing value to their clients. Introduced in 2003, Pix soon became a trusted and widely used secure communication and content management provider. The Pix System enables creative continuity and reduces project risk by ensuring that ideas are accurately shared, stored, and preserved throughout the entire production process.

“Pix and Codex are complementary, trusted brands used by leading creatives, filmmakers and studios around the world,” says Codex managing director Marc Dando. “The integration of both services into one simplified workflow will deliver the industry a fast, secure, global collaborative ecosystem.”

With the acquisition of Codex, Pix will expand its servicing reach across the globe. Pix founder Dachs will remain as CEO, and Dando will take on the role of chief design officer at Pix, with a focus on existing and new products.

NAB 2019: postPerspective Impact Award winners

postPerspective has announced the winners of our Impact Awards from NAB 2019. Seeking to recognize debut products with real-world applications, the postPerspective Impact Awards are voted on by an anonymous judging body made up of respected industry artists and pros (to whom we are very grateful). It’s working pros who are going to be using these new tools — so we let them make the call.

It was fun watching the user ballots come in and discovering which products most impressed our panel of post and production pros. There are no entrance fees for our awards. All that is needed is the ability to impress our voters with products that have the potential to make their workdays easier and their turnarounds faster.

We are grateful for our panel of judges, which grew even larger this year. NAB is exhausting for all, so their willingness to share their product picks and takeaways from the show isn’t taken for granted. These men and women truly care about our industry and sharing information that helps their fellow pros succeed.

To be successful, you can’t operate in a vacuum. We have found that companies who listen to their users, and make changes/additions accordingly, are the ones who get the respect and business of working pros. They aren’t providing tools they think are needed; they are actively asking for feedback. So, congratulations to our winners and keep listening to what your users are telling you — good or bad — because it makes a difference.

The Impact Award winners from NAB 2019 are:

• Adobe for Creative Cloud and After Effects
• Arraiy for DeepTrack with The Future Group’s Pixotope
• ARRI for the Alexa Mini LF
• Avid for Media Composer
• Blackmagic Design for DaVinci Resolve 16
• Frame.io
• HP for the Z6/Z8 workstations
• OpenDrives for Apex, Summit, Ridgeview and Atlas

(All winning products reflect the latest version of the product, as shown at NAB.)

Our judges also provided quotes on specific projects and trends that they expect will have an impact on their workflows.

Said one, “I was struck by the predicted impact of 5G. Verizon is planning to have 5G in 30 cities by end of year. The improved performance could reach 20x speeds. This will enable more leverage using cloud technology.

“Also, AI/ML is said to be the single most transformative technology in our lifetime. Impact will be felt across the board, from personal assistants, medical technology, eliminating repetitive tasks, etc. We already employ AI technology in our post production workflow, which has saved tens of thousands of dollars in the last six months alone.”

Another echoed those thoughts on AI and the cloud as well: “AI is growing up faster than anyone can reasonably productize. It will likely be able to do more than first thought. Post in the cloud may actually start to take hold this year.”

We hope that postPerspective’s Impact Awards give those who weren’t at the show, or who were unable to see it all, a starting point for their research into new gear that might be right for their workflows. Another way to catch up? Watch our extensive video coverage of NAB.

Colorist Andreas Brueckl on embracing ACES workflow

By Debra Kaufman

Senior colorist Andreas Brueckl has graded a wide range of projects, from feature films to over 1,000 commercials, in Europe, the Middle East and Asia. He began his career at Bavaria Film/Cinepost in Germany, then freelanced across Europe and the Middle East before landing at 1000Volt in Istanbul, where he was lead colorist for almost four years. In 2014, he moved to Pinewood Studios Malaysia and is now currently senior colorist at FutureWorks in Mumbai, India.

Andreas Brueckl

With his cinematic grading approach, Brueckl was an early adopter of the ACES workflow. Since then he has published tutorials about ACES workflows and color grading. He spoke to postPerspective about adopting the ACES workflow and why he’s encouraging cinematographers and VFX houses to use it

Tell me about how those first trials worked out?
In 2013, when I was working at 1000Volt in Istanbul, I played around with ACES color spaces, but I was so busy — working on as many as six TV commercials a day — that I didn’t really have the time to devote to learning something new. That changed when I started at Pinewood Studios in Malaysia in 2014. The Malaysian government really wanted to build up the film industry and attract international clients. They teamed up with Imagica from Japan to create a post department. I had this beautiful brand new 100-seat 4K grading theater and a new FilmLight Baselight. I graded my first feature there in the typical telecine way with a P3 timeline, and then I started from scratch with the same movie and graded it in ACES, learning along the way. After a week or so of working on it, my grade clearly looked way better in ACES.

How was the learning process?
I was used to starting from a log image, which is the way most of us DI colorists graded for many years — and was irritated that my image was suddenly so contrasty and saturated. Thankfully, Andy Minuth and Daniele Siragusano from FilmLight helped me to understand that a scene-referred color space isnʼt as limited as a display-referred color space. In other words, I wasn’t losing information or limiting myself, and I could always dial it back to a more log-looking image if needed. Knowing this, I could achieve a “film-style” grading more readily. After a year of using ACES, and as Pinewood Malaysia started getting more and more Singaporean and Chinese clients, I made ACES tutorials with Chinese subtitles to help educate those clients.

Bazaar

Now that you’re working at FutureWorks, are you still using ACES?
In 2017, I signed on at FutureWorks in Mumbai where we work on a wide range of content, including blockbuster movies, smaller movies, TV commercials and, more recently, lots of streaming TV from Amazon Prime and Netflix. We’ve really committed to ACES there. Hope Aur Hum and Bazaar are just two examples of how well ACES has worked. Besides always grading in ACES, we switched our entire VFX pipeline to ACES in combination with Baselight grade files. In-house, all of that was easy — and welcomed by our clients. I have cinematographers coming in asking if we’re grading in ACES. Some of them already know the benefits of ACES quite well, and others just heard it is a new and very “filmic” approach of grading. So the DPs that haven’t tried ACES yet are keen to know everything about this new grading style.

How has switching to an ACES pipeline for visual effects worked out?
It was and still is a bit more work to convince VFX vendors to switch to ACES. They’re not concerned about ACES per se, but about the size of the OpenEXR files which, at uncompressed 4K, can go up to 50MB per frame. For that reason, they sometimes want to stick to the 10-bit DPX they’ve used for the past 10 years.

I found that communication is key to get the VFX facility to embrace the ACES workflow. To make it easier, we meet the compositing supervisors of all the VFX vendors and walk them through the process in Nuke and how to use the Baselight plugin. It makes it super easy.

Hope Aur Hum

If there is no demand for uncompressed files, there’s nothing wrong with using an OpenEXR Zip 1 or Piz compression, which is actually smaller than DPX renders. This year, I’m working on some of the biggest feature films and Netflix and Amazon shows in the Indian market. I’m making it clear from the beginning to all the vendors that we work in ACES and we go for an ACES VFX workflow. We’ve found that once we contact all the VFX houses and walk them through the process, they have no problem implementing the ACES workflows.

What do you personally like about ACES?
First of all, ACES is not a plugin that only works on one platform — it is an entire system that connects all platforms. I explain to the DPs that I can mix my LMTs (Look Modification Transforms) to shape the look and play with the density in chosen areas. Essentially, I have the chance to mix my own digital film stock. ACES gives me a base look much faster than I could get from a log telecine timeline workflow, where I would have had to build up a time-consuming grade from a Log image.

As HDR grades become more popular, ACES is absolutely mandatory in my opinion. One big advantage of using ACES is the ability to get additional details in the highlights. Finally, ACES is the perfect workflow for deliveries to multiple platforms. With just a few adjustments, I can make deliverables in P3, Rec.709, HDR and so on without quality loss.

Main Image: Bazaar


Debra Kaufman has been writing about the intersection of technology and media/entertainment for nearly 30 years. She currently writes the daily newsletter for USC’ Entertainment Technology Center (www.etcentric.org).

The Kominsky Method‘s post brain trust: Ross Cavanaugh and Ethan Henderson

By Iain Blair

As Bette Davis famously said, “Old age ain’t no place for sissies!” But Netflix’s The Kominsky Method proves that in the hands of veteran sitcom creator Chuck Lorre — The Big Bang Theory, Two and a Half Men and many others — there’s plenty of laughs to be mined from old age… and disease, loneliness and incontinence.

The show stars Michael Douglas as divorced, has-been actor and respected acting coach Sandy Kominsky and Alan Arkin as his longtime agent Norman Newlander. The story follows these bickering best friends as they tackle life’s inevitable curveballs while navigating their later years in Los Angeles, a city that values youth and beauty above all. Both comedic and emotional, The Kominsky Method won Douglas a Golden Globe.

Ethan Henderson and Ross Cavanaugh

The single-camera show is written by Al Higgins, David Javerbaum and Lorre, who also directed the first episode. Lorre, Higgins and Douglas executive produce the series, which is produced by Chuck Lorre Productions in association with Warner Bros. Television.

I recently spoke with associate producer Ross Cavanaugh and post coordinator Ethan Henderson about posting the show.

You are currently working on Season 2?
Ross Cavanaugh: Yes, and we’re moving along quite quickly. We’re already about three-quarters of the way through the season shooting-wise, out of the eight-show arc.

Where do you shoot, and what’s the schedule like?
Cavanaugh: We shoot mainly on the lot at Warner Bros. and then at various locations around LA. We start prepping each show one week before we start shooting, and then we get dailies the day after the first shooting day.

Our dailies lab is Picture Shop, which is right up the street in Burbank and very convenient for us. So getting footage from the set to them is quick, and they’re very fast at turning the dailies around. We usually get them by midnight the same day we drop them off,  then our editors start cutting fairly quickly after that.

Where do you do all the post?
Cavanaugh: Mainly at Picture Shop, who are very experienced in TV post work. They do all the post finishing and some of the VFX stuff — usually the smaller things, like beauty fixes and cleanup. They also do all the final color correction since DP Anette Haellmigk really wanted to work with colorist George Manno. They’ve been really great.

Ethan Henderson: We’re back and forth from the lot to Picture Shop, and once we get more heavily involved in all the post, I spend a lot of time there while we are onlining the show, coloring and doing the VFX drop-ins, and when we start the final deliverables process, since everything for Netflix comes out of there.

What are the big challenges of post production on this show, and how closely do you work with Chuck Lorre?
Cavanaugh: As with any TV show, you’re always on a very tight deadline, and there are a lot of moving parts to deal with very quickly. While our prolific showrunner Chuck Lorre is busy with all the projects he has going — especially with all the writing — he always makes time for us. He’s very passionate about the cut and is extremely on top of things.

I’d say the challenges on this show are actually fairly minimal. Basically, we ran a pretty tight ship on the first season, and now I’d say it’s a well-oiled machine. We haven’t had any big problems or surprises in post, which can happen.

Let’s talk about editing. You had two editors for Season 1 in Matthew Barbato and Gina Sansom. I assume that’s because of the time factor. How does that work?
Cavanaugh: Each editor has their own assistant editor — that was true in Season One (Matthew with Jack Cunningham and Gina with Barb Steele) and in Season two (Steven Lang with Romeo Rubio and Gina with Rahul Das). They cut separately and work on an odds-and-evens schedule, each doing every other episode. We all get together to watch screenings of the Director’s Cut, usually in the editorial bay.

What are the big editing challenges?
Cavanaugh: We have a pretty big cast, and there’s a ton of jokes and stuff going on all the time. In addition to Michael Douglas and Alan Arkin, the actors are so experienced. They give such great performances — there’s a lot of material for the editors to cut from. To be honest, the scripts are all so tight that I think one of the challenges is knowing when to cut out a joke, to serve the pacing of an episode.

This isn’t a VFX-driven show, but there are some visual effects shots. Can you explain?
Cavanaugh: We do a lot of driving scenes and use 24frame.com, who have this really good wraparound HD projection technology, so we pretty much shoot all our car scenes on the stage.

Henderson: Once in a while, we’ll pick up some exterior or establishing shots on a freeway using doubles in the cars. All the plates are picked ahead of time. Occasionally, for the sake of continuity, we’ll have to replace a plate in the background and put a different section of the plate in because too many cars ran by, and it didn’t match up in the edit.

That’s one of the things that comes up every so often. The other big thing is that both of the leads wear glasses, so reflections of crew and equipment can become an issue; we have to deal with all that and clean it up.

Cavanaugh: We don’t use many big VFX shots, and we can’t reveal much about what happens in the new season, but sometimes there’s stuff like the scene in season one where one of the characters threw some firecrackers at Michael Douglas’ feet. We obviously weren’t going to throw real ones at Michael Douglas, although I think he’d have sucked it up if we’d done it that way! We were shooting in a residential neighborhood at night and we couldn’t set off real ones because they are very loud, so we ended up doing it all with VFX. FuseFx handled the workload for the heavier VFX work.

Henderson: There was a big shot in the pilot where we did a lot of shot extensions in a restaurant where Sandy Kominsky (Douglas) and Nancy Travis’ character are having coffee. It was this big sweeping pan down over the city.

Can you talk about the importance of sound and music?
Cavanaugh: They both play a key role, and we have a great team that includes music editor Joe Deveau, supervising sound editor Lou Thomas, and sound mixers Yuri Reese and Bill Smith. The sound recording quality we get on set is always great, so that means we only need very minimal ADR. The whole sound mix is done here on the lot at Warners.

Our composer, Jeff Cardoni, worked with Chuck on Young Sheldon, and he’s really on top of getting all the new cues for the show. We basically have two versions of our main title sequence music cues — one is very bombastic and in-your-face, and the other is a bit more subtle — and it’s funny how it broke down in the first season. The guy who cut the pilot and the odd episodes went with the more bombastic version, while the second editor on the even episodes preferred the softer cues, so I’ll be curious to see how all that breaks down in the new season.

How important is all the coloring on this?
Cavanaugh: Very important. After we do all the online, we ship it over to George at Picture Shop and spend about a day and a half on it. The DP either comes in or gets a file, and she gives her notes. Then we’ll play it for Chuck. We’re in the HDR world with Dolby Vision, and it makes it look so beautiful — but then we have to do the standard pass on it as well.

I know you can’t reveal too much about the new season, but what can fans expect?
Henderson: They’re getting a continuation of these two characters’ journey together — growing old and everything that comes with that. I think it feels like a very natural extension of the first season.

Cavanaugh: In terms of the post process, I feel like we’re a Swiss watch now. We’re ticking along very smoothly. Sometimes post can be a nightmare and full of problems, so it’s great to have it all under control.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

Colorfront at NAB with 8K HDR, product updates

Colorfront, which makes on-set dailies and transcoding systems, has rolled out new 8K HDR capabilities and updates across its product lines. The company has also deepened its technology partnership with AJA and entered into a new collaboration with Pomfort to bring more efficient color and HDR management on-set.

Colorfront Transkoder is a post workflow tool for handling UHD, HDR camera, color and editorial/deliverables formats, with recent customers such as Sky, Pixelogic, The Picture Shop and Hulu. With a new HDR GUI, Colorfront’s Transkoder 2019 performs the realtime decompression/de-Bayer/playback of Red and Panavision DXL2 8K R3D material displayed on a Samsung 82-inch Q900R QLED 8K Smart TV in HDR and in full 8K resolution (7680 X 4320). The de-Bayering process is optimized through Nvidia GeForce RTX graphics cards with Turing GPU architecture (also available on Colorfront On-Set Dailies 2019), with 8K video output (up to 60p) using AJA Kona 5 video cards.

“8K TV sets are becoming bigger, as well as more affordable, and people are genuinely awestruck when they see 8K camera footage presented on an 8K HDR display,” said Aron Jaszberenyi, managing director, Colorfront. “We are actively working with several companies around the world originating 8K HDR content. Transkoder’s new 8K capabilities — across on-set, post and mastering — demonstrate that 8K HDR is perfectly accessible to an even wider range of content creators.”

Powered by a re-engineered version of Colorfront Engine and featuring the HDR GUI and 8K HDR workflow, Transkoder 2019 supports camera/editorial formats including Apple ProRes RAW, Blackmagic RAW, ARRI Alexa LF/Alexa Mini LF and Codex HDE (High Density Encoding).

Transkoder 2019’s mastering toolset has been further expanded to support Dolby Vision 4.0 as well as Dolby Atmos for the home with IMF and Immersive Audio Bitstream capabilities. The new Subtitle Engine 2.0 supports CineCanvas and IMSC 1.1 rendering for preservation of content, timing, layout and styling. Transkoder can now also package multiple subtitle language tracks into the timeline of an IMP. Further features support fast and efficient audio QC, including solo/mute of individual tracks on the timeline, and a new render strategy for IMF packages enabling independent audio and video rendering.

Colorfront also showed the latest versions of its On-Set Dailies and Express Dailies products for motion pictures and episodic TV production. On-Set Dailies and Express Dailies both now support ProRes RAW, Blackmagic RAW, ARRI Alexa LF/Alexa Mini LF and Codex HDE. As with Transkoder 2019, the new version of On-Set Dailies supports real-time 8K HDR workflows to support a set-to-post pipeline from HDR playback through QC and rendering of HDR deliverables.

In addition, AJA Video Systems has released v3.0 firmware for its FS-HDR realtime HDR/WCG converter and frame synchronizer. The update introduces enhanced coloring tools together with several other improvements for broadcast, on-set, post and pro AV HDR production developed by Colorfront.

A new, integrated Colorfront Engine Film Mode offers an ACES-based grading and look creation toolset with ASC Color Decision List (CDL) controls, built-in LOOK selection including film emulation looks, and variable Output Mastering Nit Levels for PQ, HLG Extended and P3 colorspace clamp.

Since launching in 2018, FS-HDR has been used on a wide range of TV and live outside broadcast productions, as well as motion pictures including Paramount Pictures’ Top Gun: Maverick, shot by Claudio Miranda, ASC.

Colorfront licensed its HDR Image Analyzer software to AJA for AJA’s HDR Image Analyzer in 2018. A new version of AJA HDR Image Analyzer is set for release during Q3 2019.

Finally, Colorfront and Pomfort have teamed up to integrate their respective HDR-capable on-set systems. This collaboration, harnessing Colorfront Engine, will include live CDL reading in ACES pipelines between Colorfront On-Set/Express Dailies and Pomfort LiveGrade Pro, giving motion picture productions better control of HDR images while simplifying their on-set color workflows and dailies processes.

Color Chat: Light Iron’s Sean Dunckley

Sean Dunckley joined Light Iron New York’s studio in 2013, where he has worked on episodic television and features films. He finds inspiration in many places, but most recently in the photography of Stephen Shore and Greg Stimac. Let’s find out more…

NAME: Sean Dunckley

COMPANY: LA- and NYC-based Light Iron

CAN YOU DESCRIBE YOUR COMPANY?
Light Iron is a Panavision company that offers end-to-end creative and technical post solutions. I color things there.

AS A COLORIST, WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I like to get involved early in the process. Some of the most rewarding projects are those where I get to work with the cinematographer from pre-production all the way through to the final DCP.

Ongoing advances in technology have really put the spotlight on the holistic workflow. As part of the Panavision ecosystem, we can offer solutions from start to finish, and that further strengthens the collaboration in the DI suite. We can help a production with camera and lens choices, oversee dailies and then bring all that knowledge into the final grade.

Recently, I had a client who was worried about the speed of his anamorphics at night. The cinematographer was much more comfortable shooting the faster spherical lenses, but the film and story called for the anamorphic look. In pre-production, I was able to show him how we can add some attributes of anamorphic lenses in post. That project ended up shooting a mix of anamorphic and spherical, delivering on both the practical and artistic needs.

Hulu’s Fyre Fraud doc.

WHAT SYSTEM DO YOU WORK ON?
Filmlight’s Baselight. Its color management tools offer with strong paint capabilities, and the Blackboard 2 panel is very user-friendly.

ARE YOU SOMETIMES ASKED TO DO MORE THAN JUST COLOR ON PROJECTS?
Now that DI systems have expanded their tools, I can integrate last-minute fixes during the DI sessions without having to stop and export a shot to another application. Baselight’s paint tools are very strong and have allowed me to easily solve many client issues in the room. Many times, this has saved valuable time against strict deadlines.

WHAT’S YOUR FAVORITE PART OF THE JOB?
That’s easy. It is the first day of a new project. It feels like an artistic release when I am working with filmmakers to create style frames. I like to begin the process by discussing the goals of color with the film’s creative team.

I try to get their take on how color can best serve the story. After we talk, we play for a little while. I demonstrate the looks that have been inspired by their words and then form a color palette for the project. During this time, it is just as important to learn what the client doesn’t like as much as what they do like.

WHAT’S YOUR LEAST FAVORITE?
I think the hours can be tough at times. The deadlines we face often battle with the perfectionist in me.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Architecture is a field I would have loved to explore. It’s very similar, as it is equal parts technical and creative.

WHY DID YOU CHOOSE THIS PROFESSION?
I had always been interested in post. I used to cut skateboard videos with friends in high school. In film school, I pursued more of an editing route. After graduation, I got a job at a post house and quickly realized I wanted to deviate and dive into color.

Late Night with Emma Thompson. Photo by Emily Aragones

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Recent film titles I worked on include Late Night and Brittany Runs a Marathon, both of which got picked up at Sundance by Amazon.

Other recent projects include Amazon Studio’s Life Itself, and the Fyre Fraud documentary on Hulu. Currently, I am working on multiple episodic series for different OTT studios.

The separation that used to exist between feature films, documentaries and episodics has diminished. Many of my clients are bouncing between all types of projects and aren’t contained to a single medium.

It’s a unique time to be able to color a variety of productions. Being innovative and flexible is the name of the game here at Light Iron, and we’ve always been encouraged to follow the client and not the format.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
It’s impossible to pick a single project. They are all my children!

WHERE DO YOU FIND INSPIRATION?
I go through phases but right now it’s mostly banal photography. Stephen Shore and Greg Stimac are two of my favorite artists. Finding beauty in the mundane has a lot to do with the shape of light, which is very inspiring to me as a colorist.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
I need my iPhone, Baselight and, of course, my golf course range finder.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I follow Instagram for visuals, and I keep up with Twitter for my sports news and scores.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I have young children, so they make sure I leave those stresses back at the office, or at least until they go to bed. I also try to sneak in some golf whenever I can.

NAB 2019: First impressions

By Mike McCarthy

There are always a slew of new product announcements during the week of NAB, and this year was no different. As a Premiere editor, the developments from Adobe are usually the ones most relevant to my work and life. Similar to last year, Adobe was able to get their software updates released a week before NAB, instead of for eventual release months later.

The biggest new feature in the Adobe Creative Cloud apps is After Effects’ new “Content Aware Fill” for video. This will use AI to generate image data to automatically replace a masked area of video, based on surrounding pixels and surrounding frames. This functionality has been available in Photoshop for a while, but the challenge of bringing that to video is not just processing lots of frames but keeping the replaced area looking consistent across the changing frames so it doesn’t stand out over time.

The other key part to this process is mask tracking, since masking the desired area is the first step in that process. Certain advances have been made here, but based on tech demos I saw at Adobe Max, more is still to come, and that is what will truly unlock the power of AI that they are trying to tap here. To be honest, I have been a bit skeptical of how much AI will impact film production workflows, since AI-powered editing has been terrible, but AI-powered VFX work seems much more promising.

Adobe’s other apps got new features as well, with Premiere Pro adding Free-Form bins for visually sorting through assets in the project panel. This affects me less, as I do more polishing than initial assembly when I’m using Premiere. They also improved playback performance for Red files, acceleration with multiple GPUs and certain 10-bit codecs. Character Animator got a better puppet rigging system, and Audition got AI-powered auto-ducking tools for automated track mixing.

Blackmagic
Elsewhere, Blackmagic announced a new version of Resolve, as expected. Blackmagic RAW is supported on a number of new products, but I am not holding my breath to use it in Adobe apps anytime soon, similar to ProRes RAW. (I am just happy to have regular ProRes output available on my PC now.) They also announced a new 8K Hyperdeck product that records quad 12G SDI to HEVC files. While I don’t think that 8K will replace 4K television or cinema delivery anytime soon, there are legitimate markets that need 8K resolution assets. Surround video and VR would be one, as would live background screening instead of greenscreening for composite shots. No image replacement in post, as it is capturing in-camera, and your foreground objects are accurately “lit” by the screens. I expect my next major feature will be produced with that method, but the resolution wasn’t there for the director to use that technology for the one I am working on now (enter 8K…).

AJA
AJA was showing off the new Ki Pro Go, which records up to four separate HD inputs to H.264 on USB drives. I assume this is intended for dedicated ISO recording of every channel of a live-switched event or any other multicam shoot. Each channel can record up to 1080p60 at 10-bit color to H264 files in MP4 or MOV and up to 25Mb.

HP
HP had one of their existing Z8 workstations on display, demonstrating the possibilities that will be available once Intel releases their upcoming DIMM-based Optane persistent memory technology to the market. I have loosely followed the Optane story for quite a while, but had not envisioned this impacting my workflow at all in the near future due to software limitations. But HP claims that there will be options to treat Optane just like system memory (increasing capacity at the expense of speed) or as SSD drive space (with DIMM slots having much lower latency to the CPU than any other option). So I will be looking forward to testing it out once it becomes available.

Dell
Dell was showing off their relatively new 49-inch double-wide curved display. The 4919DW has a resolution of 5120×1440, making it equivalent to two 27-inch QHD displays side by side. I find that 32:9 aspect ratio to be a bit much for my tastes, with 21:9 being my preference, but I am sure there are many users who will want the extra width.

Digital Anarchy
I also had a chat with the people at Digital Anarchy about their Premiere Pro-integrated Transcriptive audio transcription engine. Having spent the last three months editing a movie that is split between English and Mandarin dialogue, needing to be fully subtitled in both directions, I can see the value in their tool-set. It harnesses the power of AI-powered transcription engines online and integrates the results back into your Premiere sequence, creating an accurate script as you edit the processed clips. In my case, I would still have to handle the translations separately once I had the Mandarin text, but this would allow our non-Mandarin speaking team members to edit the Mandarin assets in the movie. And it will be even more useful when it comes to creating explicit closed captioning and subtitles, which we have been doing manually on our current project. I may post further info on that product once I have had a chance to test it out myself.

Summing Up
There were three halls of other products to look through and check out, but overall, I was a bit underwhelmed at the lack of true innovation I found at the show this year.

Full disclosure, I was only able to attend for the first two days of the exhibition, so I may have overlooked something significant. But based on what I did see, there isn’t much else that I am excited to try out or that I expect to have much of a serious impact on how I do my various jobs.

It feels like most of the new things we are seeing are merely commoditized versions of products that may originally have been truly innovative when they were initially released, but now are just slightly more fleshed out versions over time.

There seems to be much less pioneering of truly new technology and more repackaging of existing technologies into other products. I used to come to NAB to see all the flashy new technologies and products, but now it feels like the main thing I am doing there is a series of annual face-to-face meetings, and that’s not necessarily a bad thing.

Until next year…


Mike McCarthy is an online editor/workflow consultant with over 10 years of experience on feature films and commercials. He has been involved in pioneering new solutions for tapeless workflows, DSLR filmmaking and multi-screen and surround video experiences. Check out his site.

Company 3 NY adds senior colorist Joseph Bicknell

Company 3 has added colorist Joseph Bicknell to its New York office. He has relocated following his time as co-director/founder of finishing house Cheat based in London where he worked on commercial campaigns and music videos, including campaigns for Nike, Mercedes and Audi and videos for A$AP Rocky and Skepta.

Bicknell started his career at age 15, working as a runner on London-based productions. After serving in nearly every aspect of production and post, he discovered his true passion lay in color grading, where artists can make creative choices quickly and sees results instantly. He honed his skills first freelancing and then at Cheat.

He will be working on Blackmagic Resolve. And as with all Company 3 colorists, Bicknell is available at locations globally via remote color session.

Autodesk’s Flame 2020 features machine learning tools

Autodesk’s new Flame 2020 offers a new machine-learning-powered feature set with a host of new capabilities for Flame artists working in VFX, color grading, look development or finishing. This latest update will be showcased at the upcoming NAB Show.

Advancements in computer vision, photogrammetry and machine learning have made it possible to extract motion vectors, Z depth and 3D normals based on software analysis of digital stills or image sequences. The Flame 2020 release adds built-in machine learning analysis algorithms to isolate and modify common objects in moving footage, dramatically accelerating VFX and compositing workflows.

New creative tools include:
· Z-Depth Map Generator— Enables Z-depth map extraction analysis using machine learning for live-action scene depth reclamation. This allows artists doing color grading or look development to quickly analyze a shot and apply effects accurately based on distance from camera.
· Human Face Normal Map Generator— Since all human faces have common recognizable features (relative distance between eyes, nose, location of mouth) machine learning algorithms can be trained to find these patterns. This tool can be used to simplify accurate color adjustment, relighting and digital cosmetic/beauty retouching.
· Refraction— With this feature, a 3D object can now refract, distorting background objects based on its surface material characteristics. To achieve convincing transparency through glass, ice, windshields and more, the index of refraction can be set to an accurate approximation of real-world material light refraction.

Productivity updates include:
· Automatic Background Reactor— Immediately after modifying a shot, this mode is triggered, sending jobs to process. Accelerated, automated background rendering allows Flame artists to keep projects moving using GPU and system capacity to its fullest. This feature is available on Linux only, and can function on a single GPU.
· Simpler UX in Core Areas— A new expanded full-width UX layout for MasterGrade, Image surface and several Map User interfaces, are now available, allowing for easier discoverability and accessibility to key tools.
· Manager for Action, Image, Gmask—A simplified list schematic view, Manager makes it easier to add, organize and adjust video layers and objects in the 3D environment.
· Open FX Support—Flame, Flare and Flame Assist version 2020 now include comprehensive support for industry-standard Open FX creative plugins such as Batch/BFX nodes or on the Flame timeline.
· Cryptomatte Support—Available in Flame and Flare, support for the Cryptomatte open source advanced rendering technique offers a new way to pack alpha channels for every object in a 3D rendered scene.

For single-user licenses, Linux customers can now opt for monthly, yearly and three-year single user licensing options. Customers with an existing Mac-only single user license can transfer their license to run Flame on Linux.
Flame, Flare, Flame Assist and Lustre 2020 will be available on April 16, 2019 at no additional cost to customers with a current Flame Family 2019 subscription. Pricing details can be found at the Autodesk website.