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Category Archives: Color Grading

Nice Shoes Toronto adds colorist Yulia Bulashenko

Creative studio Nice Shoes has added colorist Yulia Bulashenko to its Toronto location. She brings over seven years of experience as a freelance colorist, working worldwide across on projects with such top global clients as Nike, Volkswagen, MTV, Toyota, Diesel, Uniqlo, Uber, Adidas and Zara, among numerous others.

Bulashenko’s resume includes work across commercials, music videos, fashion, and feature films. Notable projects include Sia and Diplo’s (LSD) music video for “Audio,” “Sound and Vision” a tribute to the late singer David Bowie directed by Canada for whom she has been a colorist of choice for the past five years; and feature films The Girl From The Song and Gold.

Toronto-based Bulashenko is available immediately and also available remotely via Nice Shoes’s New York, Boston, Chicago, and Minneapolis spaces.

Bulashenko began her career as a fashion photographer before transitioning into creating fashion films. Through handling all of the post on her own film projects, she discovered a love for color grading. After building relationships with a number of collaborators, she began taking on projects as a freelancer, working with clients in Spain and the UK working on a wide range of projects throughout Europe, Mexico, Qatar and India.

Managing director Justin Pandolfino notes, “We’re excited to announce Yulia as the first of a number of new signings as we enter our fourth year in the Toronto market. Bringing her onboard is part of our ongoing efforts to unite the best talent from around the world to deliver stunning design, animation, VFX, VR/AR, editorial, color grading and finishing for our clients.”

Colorist Chat: Scott Ostrowsky on Amazon’s Sneaky Pete

By Randi Altman

Scott Ostrowsky, senior colorist at Deluxe’s Level 3 in Los Angeles has worked on all three seasons of Amazon’s Sneaky Pete, produced by Bryan Cranston and David Shore and starring Giovanni Ribisi. Season 3 is the show’s last.

For those of you unfamiliar with the series, it follows a con man named Marius (Ribisi), who takes the place of his former cell-mate Pete and endears himself to Pete’s seemingly idyllic family while continuing to con his way through life. Over time he comes to love the family, which is nowhere as innocent as they seem.

Scott Ostrowsky

We reached out to this veteran colorist to learn more about how the look of the series developed over the seasons and how he worked with the showrunners and DPs.

You’ve been on Sneaky Pete since the start. Can you describe how the look has changed over the years?
I worked on Seasons 1 through Season 3. The DP for Season 1 was Rene Ohashi and it had somewhat of a softer feel. It was shot on a Sony F55. It mostly centered around the relationship of Bryan Cranston’s character and Giovanni Ribisi’s newly adopted fake family and his brother.

Season 2 was shot by DPs Frank DeMarco and William Rexer on a Red Dragon, and it was a more stylized and harsher look in some ways. The looks were different because the storylines and the locations had changed. So, even though we had some beautiful, resplendent looks in Season 2, we also created some harsher environments, and we did that through color correction. Going into Season 2, the storyline changed, and it became more defined in the sense that we used the environments to create an atmosphere that matched the storyline and the performances.

An example of this would be the warehouse where they all came together to create the scam/ heist that they were going to pull off. Another example of this would be the beautiful environment in the casino that was filled with rich lighting and ornate colors. But there are many examples of this through the show — both DPs used shadow and light to create a very emotional mood or a very stark mood and everything in between.

Season 3 shot by Arthur Albert and his son, Nick Albert on a Red Gemini, and it had a beautiful, resplendent, rich look that matched the different environments when it moved from the cooler look of New York to the more warm, colorful look in California.

So you gave different looks based on locale? 
Yes, we did. Many times, the looks would depend on time of day and the environment that they were in. An example of this might be the harsh fluorescent green in the gas station bathroom where Giovanni’s character is trying to figure out a way to help his brother and avoid his captures.

How did you work with the Alberts on the most recent season?
I work at Level 3 Post, which is a Deluxe company. I did Season 1 and 2 at the facility on the Sony lot. Season 3 was posted at Level 3. Arthur and Nick Albert came in to my color suite with the camera tests shot on the Red Gemini and also the Helium. We set up a workflow based on the Red cameras and proceeded to grade the various setups.

Once Arthur and Nick decided to use the Gemini, we set up our game plan for the season. When I received my first conform, I proceeded to grade it based on our conversations. I was very sensitive to the way they used their setups, lighting and exposures. Once I finished my first primary grade, Arthur would come in and sit with me to watch the show and make any changes. After Arthur approved the grade, The producers and showrunner would come in for their viewing. They could make any additional changes at that time. (Read our interview with Arthur Albert here.)

How do you prefer to work with directors/DPs?
The first thing is have conversation with them on their approach and how they view color as being part of the story they want to tell. I always like to get a feel for how the cinematographer will shoot the show and what, if any, LUTs they’re using so I can emulate that look as a starting point for my color grading.

It is really important to me to find out how a director envisions the image he or she would like to portray on the screen. An example of this would be facial expressions. Do we want to see everything or do they mind if the shadow side remains dark and the light falls off.

A lot of times, it’s about how the actors emote and how they work in tandem with each other to create tension, comedy or other emotions — and what the director is looking for in these scenes.

Any tips for getting the most out of a project from a color perspective?
Communication. Communication. Communication. Having an open dialogue with the cinematographer, showrunners and directors is extremely important. If the colorist is able to get the first pass very close, you spend more time on the nuisances rather than balancing or trying to find a look. That is why it is so important to have an understanding of the essence of what a director, cinematographer and showrunner is looking for.

How do you prefer the DP or director to describe their desired look?
However they’re comfortable in enlightening me to their styles or needs for the show is fine. Usually, we can discuss this when we have a camera test before principal photography starts. There’s no one way that you can work with everybody — you just adapt to how they work. And as a colorist, it’s your job to make that image sing or shine the way that they intended it to.

You used Resolve on this. Is there a particular tool that came in handy for this show?
All tools on the Resolve are useful for a drama series. You would not buy the large crayon box and throw out colors you didn’t like because, at some point, you might need them. I use all tools — from keys, windows, log corrections and custom curves to create the looks that were needed.

You have been working in TV for many years. How has color grading changed during that time?
Color correction has become way more sophisticated over the years, and is continually growing and expanding into a blend of not only color grading but helping to create environments that are needed to express the look of a show. We no longer just have simple color correctors with simple secondaries; the toolbox continues to grow with added filters, added grain and sometimes even helping to create visual effects, which most color correctors are able to do today.

Where do you find inspiration? Art? Photography?
I’ve always loved photography and B&W movies. There’s a certain charm or subtlety that you find in B&W, whether it’s a film noir, the harshness of film grain, or just the use of shadow and light. I’ve always enjoyed going to museums and looking at different artists and how they view the world and what inspires them.

To me, it’s trying to portray an image and have that image make a statement. In daily life, you can see multiple examples as you go through your day, and I try and keep the most interesting ones that I can remember in my lexicon of images.


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

NBCUni 7.26

Review: PixelTools V.1 PowerGrade presets for Resolve

By Brady Betzel

Color correction and color grading can be tricky (especially for those of us who don’t work as a dedicated colorist). And to be good at one doesn’t necessarily mean you will be good at the other. After watching hundreds of hours of tutorials, the only answer to getting better at color correction and color grading is to practice. As trite and cliche as it sounds, it’s the truth. There is also the problem of a creative block. I can sometimes get around a creative block when color correcting or general editing by trying out of the box ideas, like adding a solid color on top of footage and changing blend modes to spark some ideas.

An easier way to get a bunch of quick looks on your footage is with LUTs (Look Up Tables) and preset color grades. LUTs can sometimes work at getting your footage into an acceptable spot color correction-wise or technically, in the correct color space (the old technical vs. creative LUTs discussion). They often need (or should) be tweaked to fit the footage you are using.

Dawn

This is where PixelTool’s PowerGrade presets for Blackmagic’s DaVinci Resolve come in to play. PixelTool’s presets give you that instant wow of a color grade, sharpening and even grain, but with the flexibility to tweak and adjust to your own taste.

PixelTool’s PowerGrade V.1 are a set of Blackmagic’s DaVinci Resolve PowerGrades (essentially pre-built color grades sometimes containing noise reduction, glows or film grain) that retail for $79.99. Once purchased, the PowerGrade presets can be downloaded immediately. If you aren’t sure about the full commitment to purchase for $79.99, you can download eight sample PowerGrade presets to play with by signing up for PixelTools’ newsletter.

While it doesn’t typically matter what version of Resolve you are using with the PixelTool PowerGrade, you will probably want to make sure you are using Resolve Studio 15 (or higher) or you may miss out on some of the noise reduction or film. I’m running Resolve 16 Studio.

What are PowerGrades? In Resolve, you can save and access pre-built color correction node trees across all projects in a single database. This way if you have an amazing orange and teal, bleach bypass, or maybe a desaturated look with a vignette and noise reduction that you don’t want to rebuild inside every project you can them in the PowerGrades folder in the color correction tab. Easy! Just go into the Color Correction Tab > Gallery (in the upper left corner) > click the little split window icon > right click and “Add PowerGrade Album.”

Golden

Installing the PixelTools presets is pretty easy, but there are a few steps you are going to want to follow if you’ve never made a PowerGrades folder before. Luckily, there is a video just for that. Once you’ve added the presets into your database you can access over 110 grades in both Log and Rec 709 color spaces. In addition, there is a folder of “Utilities,” which offers some helpful tools like Scanlines (Mild-Intense), various Vignettes, Sky Debanding, preset Noise Reductions, two-and three-way Grain Nodes and much more. Some of the color grading presets can fit on one node but some have five or six nodes like the “2-Strip Holiday.” They will sometimes be applied as a Compound Node for organization-sake but can be decomposed to see all the goodness inside.

The best part of PixelTools, other than the great looks, is the ability to decompose or view the Compound Node structure and see what’s under the hood. Not only does it make you appreciate all of the painstaking work that is already done for you, but you can study it, tweak it and learn from it. I know a lot of companies that don’t like to reveal how things are done, but with PixelTools you can break the grades. Follows my favorite motto: “A rising tide lifts all boats” mindset.

From the understated “2-Strip Holiday” look to the crunchy “Bleach Duotone 2” with the handy “Saturation Adjust” node on the end of the tree, PixelTools is the prime example of pre-built looks that can be as easy as drag-and-dropping onto a clip or as intricate as adjusting each node to the way you like it. One of my favorite looks is a good-old Bleach Bypass — use two layer nodes (one desaturated and one colored), layer mix with a composite mode set to Overlay and adjust saturation to taste. The Bleach Bypass setup is not a tightly guarded secret, but PixelTools gets you right to the Bleach Bypass look with the Bleach Duotone 2 and also adds a nice orange and teal treatment on top.

2-Strip Holiday

Now I know what you are thinking — “Orange and Teal! Come on, what are we Michael Bay making Transformers 30?!” Well, the answer is, obviously, yes. But to really dial the look to taste on my test footage I brought down the Saturation node at the end of the node tree to around 13%, and it looks fantastic! Moral of the story is: always dial in your looks, especially with presets. Just a little customization can take your preset-look to a personalized look quickly. Plus, you won’t be the person who just throws on a preset and walks away.

Will these looks work with my footage? If you shot in a Log-ish style like SLog or BMD Film, Red Log Film or even GoPro Flat you can use the Log presets and dial them to taste. If you shot footage in Rec. 709 with your Canon 5D Mark II, you can just use the standard looks. And if you want to create your own basegrade on Log footage just add the PixelTool PowerGrade Nodes after!

Much like my favorite drag-and-drop tools from Rampant Design, PixelTools will give you a jump on your color grading quickly and if nothing else can maybe shake loose some of that colorist creative block that creeps in. Throw on that “Fuji 1” or “Fuji 2” look, add a serial node in the beginning and crank up the red highlights…who knows it may give you some creative jumpstart that you are looking for. Know the rules to break the rules, but also break the rules to get those creative juices flowing.

Saturate-Glow-Shadows

Summing Up
In the end, PixelTools is not just a set of PowerGrades for DaVinci Resolve, they can also be creative jumpstarts. If you think your footage is mediocre, you will be surprised at what a good color grade will do. It can save your shoot. But don’t forget about the rendering when you are finished. Rendering speed will still be dependent on your CPU and GPU setup. In fact, using an Asus ConceptD 7 laptop with an Nvidia RTX 2080 GPU, I exported a one-minute long Blackmagic Raw sequence with only color correction (containing six clips) to 10-bit DPX files in :46 seconds, with a random PixelTools PowerGrade applied to each clip it took :40 seconds! In this case the Nvidia RTX 2080 really aided in the fast export but your mileage may vary.

Check out pixeltoolspost.com and make sure to at least download their sample pack. From the one of five Kodak looks, two Fuji Looks, Tobacco Newspaper to Old Worn VHS 2 with a hint of chromatic aberration you are sure to find something that fits your footage.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on shows like Life Below Zero and The Shop. He is also a member of the Producer’s Guild of America. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.


Colorist Joanne Rourke grades Netflix horror film In the Tall Grass

Colorists are often called on to help enhance a particular mood or item for a film, show or spot. For Netflix’s In the Tall Grass — based on a story from horror writers Stephen King and Joe Hill — director Vincenzo Natali and DP Craig Wrobleski called on Deluxe Toronto’s Joanne Rourke to finesse the film’s final look using color to give the grass, which plays such a large part in the film, personality.

In fact, most of the film takes place in a dense Kansas field. It all begins when a brother and his pregnant sister hear a boy’s cries coming from a field of tall grass and go to find him. Soon they realize they can’t escape.

Joanne Rourke

“I worked with Vincenzo more than 20 years ago when I did the video mastering for his film Cube, so it was wonderful to reconnect with him and a privilege to work with Craig. The color process on this project was highly collaborative and we experimented a lot. It was decided to keep the day exteriors natural and sunny with subtle chromatic variations between. While this approach is atypical for horror flicks, it really lends itself to a more unsettling and ominous feeling when things begin to go awry,” explains Rourke.

In the Tall Grass was principally shot using the ARRI Alexa LF camera system, which helped give the footage a more immersive feeling when the characters are trapped in the grass. The grass itself comprised a mix of practical and CG grass that Rourke adjusted the color of depending on the time of day and where the story was taking place in the field. For the night scenes, she focused on giving the footage a silvery look while keeping the overall look as dark as possible with enough details visible. She was also mindful to keep the mysterious rock dark and shadowed.

Rourke completed the film’s first color pass in HDR, then used that version to create an SDR trim pass. She found the biggest challenge of working in HDR on this film to be reining in unwanted specular highlights in night scenes. To adjust for this, she would often window specific areas of the shot, an approach that leveraged the benefits of HDR without pushing the look to the extreme. She used Blackmagic Resolve 15 along with the occasional Boris FX Sapphire plugins.

“Everyone involved on this project had a keen attention to detail and was so invested in the final look of the project, which made for such great experience,” says Rourke. “I have many favorite shots, but I love how the visual of the dead crow on the ground perfectly captures the silver feel. Craig and Vincenzo created such stunning imagery, and I was just happy to be along for the ride. Also, I had no idea that head squishing could be so gleeful and fun.”

In the Tall Grass is now streaming on Netflix.


Harbor adds talent to its London, LA studios

Harbor has added to its London- and LA-based studios. Marcus Alexander joins as VP of picture post, West Coast and Darren Rae as senior colorist. He will be supervising all dailies in the UK.

Marcus Alexander started his film career in London almost 20 years ago as an assistant editor before joining Framestore as a VFX editor. He helped Framestore launch its digital intermediate division, producing multiple finishes on a host of tent-pole and independent titles, before joining Deluxe to set up its London DI facility. Alexander then relocated to New York to head up Deluxe New York DI. With the growth in 3D movies, he returned to the UK to supervise stereo post conversions for multiple studios before his segue into VFX supervising.

“I remember watching It Came from Outer Space at a very young age and deciding there and then to work in movies,” says Alexander. “Having always been fascinated with photography and moving images, I take great pride in thorough involvement in my capacity from either a production or creative standpoint. Joining Harbor allows me to use my skills from a post-finishing background along with my production experience in creating both 2D and 3D images to work alongside the best talent in the industry and deliver content we can be extremely proud of.”

Rae began his film career in the UK in 1995 as a sound sync operator at Mike Fraser Neg Cutters. He moved into the telecine department in 1997 as a trainee. By 1998 he was a dailies colorist working with 16mm and 35mm film. From 2001, Rae spent three years with The Machine Room in London as telecine operator and joined Todd AO’s London lab in 2014 as colorist working on drama and commercials 35mm and 16mm film and 8mm projects for music videos. In 2006 Rae moved into grading dailies at Todd AO parent company Deluxe in Soho London, moving to Company 3 London in 2007 as senior dailies colorist. In 2009, he was promoted to supervising colorist.

Prior to joining Harbor, Rae was senior colorist for Pinewood Digital, supervising multiple shows and overseeing a team of four, eventually becoming head of grading. Projects include Pokemon Detective Pikachu, Dumbo, Solo: A Star Wars Story, The Mummy, Rogue One, Doctor Strange and Star Wars Episode VII — The Force Awakens.

“My main goal is to make the director of photography feel comfortable. I can work on a big feature film from three months to a year, and the trust the DP has in you is paramount. They need to know that wherever they are shooting in the world, I’m supporting them. I like to get under the skin of the DP right from the start to get a feel for their wants and needs and to provide my own input throughout the entire creative process. You need to interpret their instructions and really understand their vision. As a company, Harbor understands and respects the filmmaker’s process and vision, so for me, it’s the ideal new home for me.”

Harbor has also announced that colorists Elodie Ichter and Katie Jordan are now available to work with clients on both the East and West Coasts in North America as well as the UK. Some of the team’s work includes Once Upon a Time in Hollywood, The Irishman, The Hunger Games, The Maze Runner, Maleficent, The Wolf of Wall Street, Anna, Snow White and the Huntsman and Rise of the Planet of the Apes.


Charlieuniformtango names company vets as new partners

Charlieuniformtango principal/CEO Lola Lott has named three of the full-service studio’s most veteran artists as new partners — editors Deedle LaCour and James Rayburn, and Flame artist Joey Waldrip. This is the first time in the company’s almost 25-year history that the partnership has expanded. All three will continue with their current jobs but have received the expanded titles of senior editor/partner and senior Flame artist/partner, respectively. Lott, who retains majority ownership of Charlieuniformtango, will remain principal/CEO, and Jack Waldrip will remain senior editor/co-owner.

“Deedle, Joey and James came to me and Jack with a solid business plan about buying into the company with their futures in mind,” explains Lott. “All have been with Charlieuniformtango almost from the beginning: Deedle for 20 years, Joey for 19 years and James for 18. Jack and I were very impressed and touched that they were interested and willing to come to us with funding and plans for continuing and growing their futures with us.

So why now after all these years? “Now is the right time because while Jack and I still have a passion for this business and we also have employees/talent — that have been with us for over 18 years — who also have a passion be a partner in this company,” says Lott. “While still young, they have invested and built their careers within the Tango culture and have the client bonds, maturity and understanding of the business to be able to take Tango to a greater level for the next 20 years. That was mine and Jack’s dream, and they came to us at the perfect time.”

Charlieuniformtango is a full-service creative studio that produces, directs, shoots, edits, mixes, animates and provides motion graphics, color grading, visual effects and finishing for commercials, short films, full-length feature films, documentaries, music videos and digital content.

Main Image: (L-R) Joey Waldrip, James Rayburn, Jack Waldrip, Lola Lott and Deedle LaCour


Colorist Chat: Lucky Post’s Neil Anderson

After joining Lucky Post in Dallas in 2013 right out of film school, Neil Anderson was officially promoted to colorist in 2017. He has worked on a variety of projects during his time at the studio, including projects for Canada Dry, Costa, TGI Fridays, The Salvation Army and YETI. He also contributed to Augustine Frizzell’s feature comedy, Never Goin’ Back, which premiered at Sundance and was distributed by A24.

YETI

We checked in with Anderson to find out how he works, some favorite projects and what inspires him.

What do you enjoy most about your work?
That’s a really hard question because there are a lot of things I really enjoy about color grading. If I had to choose, I think it comes back to the fact that it’s rewarding to both left- and right-brained people. It truly is both an art and a science.

The satisfaction I get when I first watch a newly graded spot is also very special. A cohesive and mindful color grade absolutely transforms the piece into something greater, and it’s a great feeling to be able to make such a powerful impact.

What’s the most misunderstood aspect of color artistry?
I’m not sure many people stop and think about how amazing it is that we can fine tune our engineering to something as wild as our eye sight. Our vision is very fluid and organic, constantly changing under different constraints and environments, filled with optical illusions and imperfect guesses. There are immensely strange phenomena that drastically change our perception of what we see. Yet we need to make camera systems and displays work with this deeply non-uniform perception. It’s an absolutely massive area of study that we take for granted; I’m thankful for those color scientists out there.

Where do you find your creative inspiration?
I definitely like to glean new ideas and ways of approaching new projects from seeing other great colorists. Sometimes certain commercials come on TV that catch my eye and I’ll excitedly say to my partner Odelie, “That is damn good color!” Depending on the situation, I might get an eye-roll or two from her.

Tell us about some recent projects, and what made them stand out to you creatively?
Baylor Scott & White Health: I just loved how moody we took these in the end. They are very inspiring stories that we wanted to make feel even more impactful. I think the contrast and color really turned out beautiful.

Is This All There Is?

Is This All There Is? by Welcome Center: This is a recent music video that we filmed in a stunningly dilapidated house. The grit and grain we added in color really brings out the “worst” of it.

Hurdle: This was a documentary feature I worked on that I really enjoyed. The film was shot over a six-month window in the West Bank in Israel, so wrangling it in while also giving it a distinctly unique look was both difficult and fun.

Light From Light: Also a feature film that I finished a few months ago. I really enjoyed the process of developing the look with its wonderful DP Greta Zozula. We specifically wanted to capture the feeling of paintings by Andrew Wyeth, Thomas Eakins and Johannes Vermeer.

Current bingeable episodics and must see films?
Exhibit A, Mindhunter, Midsommar and The Cold Blue.

When you are not at Lucky Post, where do you like to spend time?
I’m an avid moviegoer so definitely a lot of my time (and money) is spent at the theater. I’m also a huge sports fan; you’ll find me anywhere that carries my team’s games! (Go Pack Go)

Favorite podcast?
The Daily (“The New York Times”)

Current Book?
“Parting the Waters: America in the King Years 1954-1963”

Dumbest thing you laughed at today?
https://bit.ly/2MYs0V1

Song you can’t stop listening to?
John Frusciante — 909 Day


Color grading IT Chapter Two’s terrifying return

In IT Chapter Two, the kids of the Losers’ Club are all grown up and find themselves lured back to their hometown of Derry. Still haunted both by the trauma that monstrous clown Pennywise let loose on the community and by each one’s own unique insecurities, the group (James McAvoy, Jessica Chastain, Bill Hader) find themselves up against even more terrifying forces than they faced in the first film, IT.

Stephen Nakamura

IT Chapter Two director Andy Muschietti called on cinematographer Checco Varese and colorist Stephen Nakamura of Company 3. Nakamura returned to the franchise, performing the final color grade at Efilm in Hollywood. “I felt the first one was going to be a big hit when we were working on it, because these kids’ stories were so compelling and the performances were so strong. It was more than just a regular horror movie. This second one, in my opinion, is just as powerful in terms of telling these characters’ stories. And, not surprisingly, it also takes the scary parts even further.”

According to Nakamura, Muschietti “is a very visually oriented director. When we were coloring both of the films, he was very aware of the kinds of things we can do in the DI to enhance the imagery and make things even more scary. He pushed me to take some scenes in Chapter Two in directions I’ve never gone with color. I think it’s always important, whether you’re a colorist or a chef or a doctor, to always push yourself and explore new aspects of your work. Andy’s enthusiasm encouraged me to try new approaches to working in DaVinci Resolve. I think the results are very effective.”

For one thing, the technique he used to bring up just the light level in the eyes of the shapeshifting clown Pennywise got even more use here because there were more frightening characters to use it on. In many cases, the companies that created the visual effects also provided mattes that let Nakamura easily isolate and adjust the luminance of each individual eye in Resolve. When such mattes weren’t available, he used Resolve to track each eyeball a frame at a time.

“Resolve has excellent tracking capabilities, but we were looking to isolate just the tiny whites of the characters’ eyes,” Nakamura explains, “and there just wasn’t enough information to track.” It was meticulous work, he recalls, “but it’s very effective. The audience doesn’t consciously know we’re doing anything, but it makes the eyes brighter in a very strange way, kind of like a cat’s eyes when they catch the light. It really enhances the eerie feeling.”

In addition, Nakamura and the filmmakers made use of Resolve’s Flicker tool in the OpenFX panel to enhance the flickering effect in a scene involving flashing lights, taking the throbbing light effects further than they did on set. Not long ago, this type of enhancement would have been a more involved process in which the shots would likely be sent to a visual effects house. “We were able to do it as part of the grading, and we all thought it looked completely realistic. They definitely appreciated the ability to make little enhancements like that in the final grade, when everyone can see the scenes with the grade in context and on a big screen.”

Portions of the film involve scenes of the Losers’ Club as children, which were comprised of newly shot material (not cut in from the production of the first It). Nakamura applied a very subtle amount of Resolve’s mid-tone detail tool over them primarily to help immediately and subliminally orient the audience in time.

But the most elaborate use of the color corrector involved one short sequence in which Hader’s character, walking in a local park on a pleasant, sunny day, has a sudden, terrifying interaction with a very frightening character. The shots involved a significant amount of CGI and compositing work, which was completed at several effects houses. Muschietti was pleased with the effects work, but he wanted Nakamura to bring in an overall quality to the look of the scene that made it feel a bit more otherworldly.

Says Nakamura, “Andy described something that reminded me of the old-school, two-strip color process, where essentially anything red would get pushed into being a kind of magenta, and something blue or green would become a kind of cyan.”

Nakamura, who colored Martin Scorsese’s The Aviator (shot by Robert Richardson, ASC), had designed something at that point to create more of a three-strip look, but this process was more challenging, as it involved constraining the color palette to an even greater degree — without, of course, losing definition in the imagery.

With a bit of trial and error, Nakamura came up with the notion of using the splitter/combiner node and recombined some nodes in the output, forcing the information from the green channel into the red and blue channels. He then used a second splitter/combiner node to control the output. “It’s almost like painting a scene with just two colors,” he explains. “Green grass and blue sky both become shades of cyan, while skin and anything with red in it goes into the magenta area.”

The work became even more complex because the red-haired Pennywise also makes an appearance; it was important for him to retain his color, despite the rest of the scene going two-tone. Nakamura treated this element as a complex chroma key, using a second splitter/combiner node and significantly boosting the saturation just to isolate Pennywise while preventing the two-tone correction from affecting him.

When it came time to complete the pass for HDR Dolby Cinema — designed for specialty projectors capable essentially of displaying brighter whites and darker blacks than normal cinema projectors — Muschietti was particularly interested in the format’s treatment of dark areas of the frame.

“Just like in the first one,” Nakamura explains, “we were able to make use of Dolby Cinema to enhance suspense. People usually talk about how bright the highlights can be in HDR. But, when you push more light through the picture than you do for the P3 version, we also have the ability to make shadowy areas of the image appear even darker while keeping the details in those really dark areas very clear. This can be very effective in a movie like this, where you have scary characters lurking in the shadows.

“The color grade always plays some kind of role in a movie’s storytelling,” Nakamura sums up, “but this was a fun example of how work we did in the color grade really helped scare the audience.”

You can check out our Q&A with Nakamura about his work on the original IT.


Wildlife DP Steve Lumpkin on the road and looking for speed

For more than a decade, Steve Lumpkin has been traveling to the Republic of Botswana to capture and celebrate the country’s diverse and protected wildlife population. As a cinematographer and still photographer, Under Prairies Skies Photography‘s Lumpkin will spend a total of 65 days this year filming in the bush for his current project, Endless Treasures of Botswana.

Steve Lumpkin

It’s a labor of love that comes through in his stunning photographs, whether they depict a proud and healthy lioness washed with early-morning sunlight, an indolent leopard draped over a tree branch or a herd of elephants traversing a brilliant green meadow. The big cats hold a special place in Lumpkin’s heart, and documenting Botswana’s largest pride of lions is central to the project’s mission.

“Our team stands witness to the greatest conservation of the natural world on the planet. Botswana has the will and the courage to protect all things wild,” he explains. “I wanted to fund a not-for-profit effort to create both still images and films that would showcase The Republic of Botswana’s success in protecting these vulnerable species. In return, the government granted me a two-year filming permit to bring back emotional, true tales from the bush.”

Lumpkin recently graduated to shooting 4K video in the bush in Apple ProRes Raw, using a Sony FS5 camera and an Atomos Inferno recorder. He brings the raw footage back to his US studio for post, working in Apple Final Cut Pro on an iMac 5K and employing a variety of tools, including Color Grading Central and Neat Video.

Leopard

Until recently, Lumpkin was hitting a performance snag when transferring files from his QNAP TBS 882T NAS storage system to his iMac Pro. “I was only getting read times of about 100 Mb/sec from Thunderbolt, so editing 4K footage was painful,” he says. “At the time, I was transitioning to ProRes RAW, and I knew I needed a big performance kick.”

On the recommendation of Bob Zelin, video engineering consultant and owner of Rescue 1, Lumpkin installed Sonnet’s Solo10G Thunderbolt 3 adapter. The Solo10G uses the 10GbE standard to connect computers via Ethernet cables to high-speed infrastructure and storage systems. “Instantly, I jumped to a transfer rate of more than 880MB per second, a nearly tenfold throughput increase,” he says. “The system just screams now – the Solo10G has accelerated every piece of my workflow, from ingest to 4K editing to rendering and output.”

“So many colleagues I know are struggling with this exact problem — they need to work with huge files and they’ve got these big storage arrays, but their Thunderbolt 2 or 3 connections alone just aren’t cutting it.”

With Lumpkin, everything comes down to the wildlife. He appreciates any tools that help streamline his ability to tell the story of the country and its tremendous success in protecting threatened species. “The work we’re doing on behalf of Botswana is really what it’s all about — in 10 or 15 years, that country might be the only place on the planet where some of these animals still exist.

“Botswana has the largest herd of elephants in Africa and the largest group of wild dogs, of which there are only about 6,000 left,” says Lumpkin. “Products like Sonnet’s Solo10G, Final Cut, the Sony FS5 camera and Atomos Inferno, among others, help our team celebrate Botswana’s recognition as the conservation leader of Africa.”

FotoKem expands post services to Santa Monica

FotoKem is now offering its video post services in Santa Monica. This provides an accessible location for those working on the west side of LA, as well as access to the talent from its Burbank and Hollywood studios.

Designed to support an entire pipeline of services, the FotoKem Santa Monica facility is housed just off the 10 freeway, above FotoKem’s mixing and recording studio Margarita Mix. For many projects, color grading, sound mixing and visual effects reviews often take place in multiple locations around town. This facility offers showrunners and filmmakers a new west side post production option. Additionally, the secure fiber network connecting all FotoKem-owned locations ensures feature film and episodic finishing work can take place in realtime among sites.

FotoKem Santa Monica features a DI color grading theater, episodic and commercial color suite, editorial conform bay and a visual effects team — all tied to the comprehensive offerings at FotoKem’s main Burbank campus, Keep Me Posted’s episodic finishing facility and Margarita Mix Hollywood’s episodic grading suites. FotoKem’s entire roster of colorists are available to collaborate with filmmakers to ensure their vision is supported throughout the process. Recent projects include Shazam!, Vice, Aquaman, The Dirt, Little and Good Trouble.

Colorist Jimmy Hsu joins Encore Vancouver

Seasoned colorist Jimmy Hsu has joined Encore Vancouver, bringing with him experience in content creation and color science. He comes to Encore Vancouver from Side Street Post Production, where he began as an online editor in 2012 before focusing on color grading.

Hsu’s work spans live action and animated projects across genres, including features, video game cinematics and commercials for clients such as Universal Studios, Disney and Lifetime.

Upon graduating from British Columbia’s Simon Fraser University with a bachelor’s in interactive arts and film production, Hsu held various roles in production and post production, including as a creative editor and motion graphics artist. Having edited more than a hundred movie trailers, Hsu is well-versed in project deliverables and specs, which helps inform his color process. He also draws from his artistic background, leveraging the latest capabilities of Blackmagic DaVinci Resolve to incorporate significant compositing and visual effects work into his projects.


Senior colorist Maria Carretero joins Nice Shoes

NYC-based post studio Nice Shoes has hired senior colorist Maria Carretero, who comes to Nice Shoes with nearly two decades of global experience in color grading under her belt. Her portfolio includes a wide range of feature films, short films, music videos and commercials for brands like Apple, Jeep, Porsche, Michael Kors, Disney and Marriott, among many others. She will be based at Nice Shoes’ NYC studio, also working across Nice Shoes’s Boston, Chicago, Toronto and Minneapolis spaces and through its network of remote partnerships globally.

She comes to Nice Shoes from Framestore in Chicago, where she spent nearly two years establishing relationships with agencies such as BBDO, FCB, DDB, Leo Burnett Chicago and Media Arts Lab LA.

Carretero is originally from Spain, where she received an education in fine arts. She soon discovered the creative possibilities in digital color grading, quickly establishing a career for herself as an international artist. Her background in painting, coupled with her natural eye for nuanced visuals, are the tools that help her maximize her clients’ creative visions. Carretero’s ability to convey a brand story through her work has earned her a long list of awards, including Cannes Lions and a Clio.

Carretero’s recent work includes Jeep’s Recalculating, Disney’s You Can Fly and Bella Notte, Porsche’s The Fix and Avocados From Mexico’s Top Dog spot for Super Bowl 2019.

“Nice Shoes brings together the expertise backed by 20 years of experience with a personal approach that really celebrates female talent and collaboration,” adds Carretero. “I’m thrilled to be joining a team that truly supports the creative exploration process that color takes in storytelling. I’ve always wanted to live in New York. Throughout my whole life, I visited this city again and again and was fascinated by the diversity, the culture, and incredible energy that you breathe in as you walk the city’s streets.”

AJA adds HDR Image Analyzer 12G and more at IBC

AJA will soon offer the new HDR Image Analyzer 12G, bringing 12G-SDI connectivity to its realtime HDR monitoring and analysis platform developed in partnership with Colorfront. The new product streamlines 4K/Ultra HD HDR monitoring and analysis workflows by supporting the latest high-bandwidth 12G-SDI connectivity. The HDR Image Analyzer 12G will be available this fall for $19,995.

HDR Image Analyzer 12G offers waveform, histogram and vectorscope monitoring and analysis of 4K/Ultra HD/2K/HD, HDR and WCG content for broadcast and OTT production, post, QC and mastering. It also features HDR-capable monitor outputs that not only go beyond HD resolutions and offer color accuracy but make it possible to configure layouts to place the preferred tool where needed.

“Since its release, HDR Image Analyzer has powered HDR monitoring and analysis for a number of feature and episodic projects around the world. In listening to our customers and the industry, it became clear that a 12G version would streamline that work, so we developed the HDR Image Analyzer 12G,” says Nick Rashby, president of AJA.

AJA’s video I/O technology integrates with HDR analysis tools from Colorfront in a compact 1-RU chassis to bring HDR Image Analyzer 12G users a comprehensive toolset to monitor and analyze HDR formats, including PQ (Perceptual Quantizer) and hybrid log gamma (HLG). Additional feature highlights include:

● Up to 4K/Ultra HD 60p over 12G-SDI inputs, with loop-through outputs
● Ultra HD UI for native resolution picture display over DisplayPort
● Remote configuration, updates, logging and screenshot transfers via an integrated web UI
● Remote Desktop support
● Support for display referred SDR (Rec.709), HDR ST 2084/PQ and HLG analysis
● Support for scene referred ARRI, Canon, Panasonic, Red and Sony camera color spaces
● Display and color processing lookup table (LUT) support
● Nit levels and phase metering
● False color mode to easily spot pixels out of gamut or brightness
● Advanced out-of-gamut and out-of-brightness detection with error intolerance
● Data analyzer with pixel picker
● Line mode to focus a region of interest onto a single horizontal or vertical line
● File-based error logging with timecode
● Reference still store

At IBC 2019, AJA also showed new products and updates designed to advance broadcast, production, post and pro AV workflows. On the stand were the Kumo 6464-12G for routing and the newly shipping Corvid 44 12G developer I/O models. AJA has also introduced the FS-Mini utility frame sync Mini-Converter and three new OpenGear-compatible cards: OG-FS-Mini, OG-ROI-DVI and OG-ROI-HDMI. Additionally, the company previewed Desktop Software updates for Kona, Io and T-Tap; Ultra HD support for IPR Mini-Converter receivers; and FS4 frame synchronizer enhancements.

IBC 2019 in Amsterdam: Big heads in the cloud

By David Cox

IBC 2019 kicked off with an intriguing announcement from Avid. The company entered into a strategic alliance with Microsoft and Disney’s Studio Lab to enable remote editorial workflows in the cloud.

The interesting part for me is how this affects the perception of post producing in the cloud, rather than the actual technology of it. It has been technically possible to edit remotely in the cloud for some time —either by navigating the Wild West interfaces of the principal cloud providers and “spinning up” a remote computer, connecting some storage and content, and then running an edit app or alternatively, by using a product that takes care of all that such as Blackbird. No doubt, the collaboration with Disney will produce products and services within an ecosystem that makes the technical use of the cloud invisible.

Avid press conference

However, what interests me is that arguably, the perception of post producing in the cloud is instantly changed. The greatest fear of post providers relates to the security of their clients’ intellectual property. Should a leak ever occur, to retain the client (or indeed avoid a catastrophic lawsuit), the post facility would have to make a convincing argument that security protocols were appropriate. Prior to the Disney/Avid/Microsoft Azure announcement, the part of that argument where the post houses say “…then we sent your valuable intellectual property to the cloud” caused a sticky moment. However, following this announcement, there has been an inherent endorsement by the owner of one of the most valuable IP catalogs (Disney) that post producing in the cloud is safe — or at least will be.

Cloudy Horizons
At the press conference where Avid made its Disney announcement, I asked whether the proposed cloud service would be a closed, Avid-only environment or an open platform to include other vendors. I pointed out that many post producers also use non-Avid products for various aspects, from color grading to visual. Despite my impertinence in mentioning competitors (even though Avid had kindly provided lunch), CEO Jeff Rosica provided a well-reasoned and practical response. To paraphrase, while he did not explicitly say the proposed ecosystem would be closed, he suggested that from a commercial viewpoint, other vendors would more likely want to make their own cloud offerings.

Rosica’s comments suggest that post houses can expect many clouds on their horizons from various application developers. The issue will then be how these connect to make coherent and streamlined workflows. This is not a new puzzle for post people to solve — we have been trying to make local systems from different manufacturers to talk to each other for years, with varying degrees of success. Making manufacturers’ various clouds work together would be an extension of that endeavor. Hopefully, manufacturers will use their own migrations to the cloud to further open their systems, rather than see it as an opportunity to play defensive, locking bespoke file systems and making cross-platform collaboration unnecessarily awkward. Too optimistic, perhaps!

Or One Big Cloud?
Separately to the above, just prior to IBC, MovieLabs introduced its white paper, which discussed a direction of travel for movie production toward the year 2030. The IBC produced a MovieLabs panel on the Sunday of the show, moderated by postPerspective’s own Randi Altman and featuring tech chiefs from the major studios. It would be foolish not to pay it proper consideration, given that it’s backed by Disney, Sony, Paramount, Warner Bros. and Universal.

MovieLabs panel

To summarize, the proposition is that the digital assets that will be manipulated to make content stay in one centralized cloud. Apps that manipulate those assets, such as editorial and visual effects apps, delivery processes and so on, will operate in the same cloud space. The talent that drives those apps will do so via the cloud. Or to put it slightly differently, the content assets don’t move — rather, the production apps and talent move to the assets. Currently, we do the opposite: the assets are transferred to where the post services are provided.

There are many advantages to this idea. Multiple transfers of digital assets to many post facilities would end. Files would be secured on a policy basis, enabling only the relevant operators to have access for the appropriate duration. Centralized content libraries would be produced, helping to enable on-the-fly localization, instant distribution and multi-use derivatives, such as marketing materials and games.

Of course, there are many questions. How do the various post application manufacturers maintain their product values if they all work as in-cloud applications on someone else’s hardware? What happens to traditional post production facilities if they don’t need any equipment and their artists log in from wherever? How would a facility protect itself from payment disputes if it does not have control over the assets it produces?

Personally, I have moved on from the idea of brick-and-mortar facilities. Cloud post permits nearly unlimited resources and access to a global pool of talent, not just those who reside within a commutable distance from the office. I say, bring it on… within reason. Of course, this initiative relates only to the production of content for those key studios. There’s a whole world of content production beyond that scope.

Blackmagic

Knowing Your Customer
Another area of interest for me at IBC 2019 was how offerings to colorists have become quite polarized. On one hand there is the seemingly all-conquering Resolve from Blackmagic Design. Inexpensive, easy to access and ubiquitous. On the other hand there is Baselight from FilmLight — a premium brand with a price tag and associated entry barrier to match. The fact that these two products are both successful in the same market but with very different strategies is testament to a fundamental business rule: “Know your customer.” If you know who your customer is going to be, you can design and communicate the ideal product for them and sell it at the right price.

A chat with FilmLight’s joint founder, Wolfgang Lempp, and development director Martin Tlaskal was very informative. Lempp explained that the demand placed on FilmLight’s customers is similarly polarized. On one hand, clients — including major studios and Netflix — mandate fastidious adherence to advanced and ever-improving technical standards, as well as image pipelines that are certified at every step. On the other hand, different clients place deadline or budget as a prevalent concern. Tlaskal set out for FilmLight to support those color specialists that aim for top-of-the industry excellence. Having the template for the target customer defines and drives what features FilmLight will develop for its Baselight product.

FilmLight

At IBC 2019, FilmLight hosted guest speaker-led demonstrations (“Colour on Stage”) to inspire creative grading and to present its latest features and improvements including better hue-angle keying, tracking and dealing with lens distortions.

Blackmagic is no less focused on knowing its customer, which explains its success in recent years. DaVinci Resolve once shared the “premium” space occupied by FilmLight but went through a transition to aim itself squarely at a democratized post production landscape. This shift meant a recognition that there would be millions of content producers and thousands of small post houses rather than a handful of large post facilities. That transition required a great deal more than merely slashing the price. The software product would have to work on myriad hardware combinations, not just the turnkey approved setup, and would need to have features and documentation aimed at those who hadn’t spent the past three years training in a post facility. By knowing exactly who the customer would be, Blackmagic built Resolve into an extremely successful, cross-discipline, post production powerhouse. Blackmagic was demonstrating the latest Resolve at IBC 2019, although all new features had been previously announced because, as director of software engineering Rohit Gupta explained, Blackmagic does not time its feature releases to IBC.

SGO

Aiming between the extremities established by FilmLight and Blackmagic Design, SGO promoted a new positioning of its flagship product, Mistika, via the Boutique subproduct. This is essentially a software-only Mistika that runs on PC or Mac. Subscription prices range from 99 euros per month to 299 euros per month, depending on features, although there have been several discounted promotions. The more expensive options include SGO’s highly regarded stereo 3D tools and camera stitching features for producing wrap-around movies.

Another IBC — done!


David Cox is a VFX compositor and colorist with more than 20 years of experience. He started his career with MPC and The Mill before forming his own London-based post facility. Cox specializes in unusual projects, such as those using very high resolutions and interactive immersive experiences featuring realtime render engines and augmented reality.

Colorist Chat: Technicolor’s Doug Delaney

Industry veteran Doug Delaney started his career in VFX before the days of digital, learning his craft from the top film timers and color scientists as well as effects supervisors.

Today he is a leading colorist and finisher at Technicolor, working on major movies including the recent Captain Marvel. We spoke to him to find out more about how he works.

NAME:Doug Delaney

TITLE:Senior Colorist

IN ADDITION TO CAPTAIN MARVEL, CANYOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
We have just wrapped on Showtime’s The Loudest Voice,which documented Fox News’ Roger Ailes and starred Russell Crow, Naomi Watts and Sienna Miller.

I also just had the immense pleasure of working with DP Cameron Duncan on Nat Geo’s thriller The Hot Zone. For that show we actually worked together early on to establish two looks — one for laboratory scenes taking place in Washington, DC, and another for scenes in central Africa. These looks were then exported as LUTs for dailies so that the creative intent was established from the beginning of shooting and carried through to finishing.

And earlier this year I worked on Love, Death & Robots, which just received two Emmy nominations, so big congrats to that team!

ARE YOU SOMETIMES ASKED TO DO MORE THAN JUST COLOR ON PROJECTS?
Yes, these days I tend to think of “colorists” as finishing artists — meaning that our suites are typically the last stop for a project and where everything comes together.

The technology we have access to in our suites continues to develop, and therefore our capabilities have expanded — there is more we can do in our suites that previously would have needed to be handled by others. A perfect example is visual effects. Sometimes we get certain shots in from VFX vendors that are well-executed but need to be a bit more nuanced — say it’s a driving scene against a greenscreen, and the lighting outside the car feels off for the time of day it’s supposed to be in the scene. Whereas we used to have to kick it back to VFX to fix, I can now go in and use the alpha channels and mattes to color-correct that imbalance.

And what’s important about this new ability is that in today’s demanding schedules and deadlines, it allows us to work collaboratively in real time with the creative rather than in an iterative workflow that takes time we often don’t have.

WHAT’S YOUR FAVORITE PART OF THE JOB?
The look development. That aspect can take on various conversations depending on the project. Sometimes it’s talking with filmmakers in preproduction, sometimes just when it gets to post, but ultimately, being part of the creative journey and how to deliver the best-looking show is what I love.

That and when the final playback happens in our room, when the filmmakers see for the first time all of the pieces of the puzzle come together with sound … it’s awesome.

ANY SUGGESTIONS FOR GETTING THE MOST OUT OF A PROJECT FROM A COLOR PERSPECTIVE?
Understanding that each project has a different relationship with the filmmaker, there needs to be transparency and agreement to the process amongst the director, DP, execs, etc. Whether a clear vision is established early on or they are open to further developing the look, a willingness to engage in an open dialogue is key.

Personally I love when I’m able to help develop the color pipeline in preproduction, as I find it often makes the post experience more seamless. For example, what aired on Strange Angel Season 2 was not far removed from dailies because we had established a LUT in advance and had worked with wardrobe, make-up and others to carry the look through. It doesn’t need to be complicated, but open communication and planning really can go a long way in creating a stunning visual identity and a seamless experience.

HOW DO YOU PREFER THE DP OR DIRECTOR TO DESCRIBE THE LOOK THEY WANT? PHYSICAL EXAMPLES, FILMS TO EMULATE, ETC.?
Physical examples — photo books, style sheets with examples of tones they like and things like that. But ultimately my role is to correctly interpret what it is that they like in what they are showing me and to discern if what they are looking for is a literal representation, or more of an inspiration to start from and massage. Again, the open communication and ability to develop strong working relationships — in which I’m able to discern when there is a direct ask versus a need versus an opportunity to do more and push the boundaries — is key to a successful project.

WHAT SYSTEM DO YOU WORK ON?
Baselight. I love the flexibility of the system and the support that the FilmLight team provides us, as we are constantly pushing the capabilities of the platform, and they continue to deliver.

WHERE CAN PEOPLE FIND YOU ON SOCIAL MEDIA
@colorist_douglasdelaney

Boris FX beefs up film VFX arsenal, buys SilhouetteFX, Digital Film Tools

Boris FX, a provider of integrated VFX and workflow solutions for video and film, has bought SilhouetteFX (SFX) and Digital Film Tools (DFT). The two companies have a long history of developing tools used on Hollywood blockbusters and experience collaborating with top VFX studios, including Weta Digital, Framestore, Technicolor and Deluxe.

This is the third acquisition by Boris FX in recent years — Imagineer Systems (2014) and GenArts (2016) — and builds upon the company’s editing, visual effects, and motion graphics solutions used by post pros working in film and television. Silhouette and Digital Film Tools join Boris FX’s tools Sapphire, Continuum and Mocha Pro.

Silhouette’s groundbreaking non-destructive paint and advanced rotoscoping technology was recognized earlier this year by the Academy of Motion Pictures (Technical Achievement Award). It first gained prominence after Weta Digital used the rotoscoping tools on King Kong (2005). Now the full-fledged GPU-accelerated node-based compositing app features over 100 VFX nodes and integrated Boris FX Mocha planar tracking. Over the last 15 years, feature film artists have used Silhouette on films including Avatar (2009), The Hobbit (2012), Wonder Woman (2017), Avengers: End Game (2019) and Fast & Furious Presents: Hobbs & Shaw (2019).

Avengers: End Game courtesy of Marvel

Digital Film Tools (DFT) emerged as an off-shoot of a LA-based motion picture visual effects facility whose work included hundreds of feature films, commercials and television shows.

The Digital Film Tools portfolio includes standalone applications as well as professional plug-in collections for filmmakers, editors, colorists and photographers. The products offer hundreds of realistic filters for optical camera simulation, specialized lenses, film stocks and grain, lens flares, optical lab processes, color correction, keying and compositing, as well as natural light and photographic effects. DFT plug-ins support Adobe’s Photoshop, Lightroom, After Effects and Premiere Pro; Apple’s Final Cut Pro X and Motion; Avid’s Media Composer; and OFX hosts, including Foundry Nuke and Blackmagic DaVinci Resolve.

“This acquisition is a natural next step to our continued growth strategy and singular focus on delivering the most powerful VFX tools and plug-ins to the content creation market,”
“Silhouette fits perfectly into our product line with superior paint and advanced roto tools that highly complement Mocha’s core strength in planar tracking and object removal,” says Boris Yamnitsky, CEO/founder of Boris FX. “Rotoscoping, paint, digital makeup and stereo conversion are some of the most time-consuming, labor-intensive aspects of feature film post. Sharing technology and tools across all our products will make Silhouette even stronger as the leader in these tasks. Furthermore, we are very excited to be working with such an accomplished team [at DFT] and look forward to collaborating on new product offerings for photography, film and video.”

Silhouette founders, Marco Paolini, Paul Miller and Peter Moyer, will continue in their current leadership roles and partner with the Mocha product development team to collaborate on delivering next-generation tools. “By joining forces with Boris FX, we are not only dramatically expanding our team’s capabilities, but we are also joining a group of like-minded film industry pros to provide the best solutions and support to our customers,” says Marco Paolini, Product Designer. “The Mocha planar tracking option we currently license is extremely popular with Silhouette paint and roto artists, and more recently through OFX, we’ve added support for Sapphire plug-ins. Working together under the Boris FX umbrella is our next logical step and we are excited to add new features and continue advancing Silhouette for our user base.”

Both Silhouette and Digital Film Tool plug-ins will continue to be developed and sold under the Boris FX brand. Silhouette will adopt the Boris FX commitment to agile development with annual releases, annual support and subscription options.

Main Image: Silhouette

SGO Mistika Boutique at IBC with Dolby Vision, color workflows

At IBC, SGO will be showing enhancements and upgrades of its subscription-based finishing solution, Mistika Boutique. The company will demo color management solutions as well as HDR content delivery workflows with recently integrated Dolby Vision support.

This professional color grading toolset combined with the finishing functionality of Mistika Boutique will be showcased running on a Mac Pro workstation with Tangent Arc control panels and output to a Canon 4K HDR reference display through Blackmagic Design DeckLink I/O.

Mistika Boutique is hardware-agnostic and runns on both Windows and MacOS.

SGO is offering a variety of sessions highlighting the trending topics for the content creation industry that feature Mistika Boutique as well as Mistika Workflows and Mistika VR at their stand.

While at the show, SGO is offering a special IBC promotion for Mistika Boutique. Anyone who subscribes by September 30, 2019 will get the Professional Immersive Edition for €99/month or €990/year (or whatever your bank’s conversion rate is), which represents a saving of over 65% from the normal price. The special IBC promotional price will be maintained as long as the subscription is not canceled and remains active.

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.

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.