Tag Archives: color grading

Creating the mood for singer Brittany Howard’s solo music video

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 which honored 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 bits and pieces of the people and area 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.’

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.

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.”

Assimilate Scratch 9.1: productivity updates, updated VFX workflow

Assimilate’s Scratch 9.1, a dailies and finishing software, now includes new and extensive performance and productivity features, including integration with Foundry Nuke and Adobe After Effects. It’s available now.

“A primary goal for us is to quickly respond to the needs of DITs and post artists, whether it’s for more advanced features, new format support, or realtime bug-fixes,” said Mazze Aderhold, Scratch product manager at Assimilate. “Every feature introduced in Scratch 9.1 is based on feedback we received from our users before and during the beta cycle.”

The software now features native touch controls for grading by clicking and dragging directly on the image. Thanks to this intuitive way to color and manipulate images, an artist can grade the overall image or even control curves and secondaries — all without a panel and directly where the cursor is dragging.

There is also a redesigned color management system, enabling deep control over how camera-specific gamut and gamma spaces are handled and converted. Additionally, there is a new color-space conversion plugin (any color space to any other) that can be applied at any stage of the color/mastering process.

Also new is integration with After Effects and Nuke. Within Scratch, users can now seamlessly send shots to and from Nuke and After Effects, including transparencies and alphas. This opens up Scratch to high-end tracking, compositing, 3D models, advanced stabilization, motion graphics and more.

Within the VFX pipeline, Scratch can act as a central hub for all finishing needs. It provides realtime tools for any format, data management, playback and all color management in a timeline with audio, including to and from After Effects and Nuke.

Other new features include:

• Integration with Avid, including all metadata in the Avid MXF. Additionally, Scratch includes all the source-shot metadata, such as the genuine Sound TC in Avid MXF, which is important later on in post for something like a Pro Tools roundtrip
• Per-frame metadata on ARRIRAW files, allowing camera departments to pass through camera roll and tilt, lens focus distance metadata items, and more. Editorial and VFX teams can benefit from per-frame info later in the post process.
• Faster playback and rendering
• Realtime, full-res Red 8K DeBayer on GPU
• A deep set of options to load media, including sizing options, LUTs and automatic audio-sync, speeding up the organizational process when dealing with large amounts of disparate media
• A LUT cycler that allows for quick preview and testing of large numbers of looks on footage
• Preset outputs for Pix, Dax, MediaSilo and Copra, simplifying the delivery of industry-standard web dailies


• Vector tool for advanced color remapping using a color grid
• Automatic installation of free Matchbox Shaders, opening Scratch up to a wealth of realtime VFX effects, including glows, lens effects, grain add/remove, as well as more advanced creative FX
• Built-in highlight glow, diffusion, de-noise and time-warp FX
• Added support for AJA’s Io 4K Plus and Kona 5 SDI output devices using the latest SDKs.
• Support for Apple’s new ProRes RAW compressed-acquisition format and Blackmagic RAW support on both OS X and Windows

Scratch 9.1 starts at $89 monthly and $695 annually.

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.

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.

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.

VFX house a52 launches a52 Color

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

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

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

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

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

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

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

Tony Dustin joins Efilm as senior colorist

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

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

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

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

NAB 2019: postPerspective Impact Award winners

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

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

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

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

The Impact Award winners from NAB 2019 are:

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

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

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

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

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

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

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

Colorist Andreas Brueckl on embracing ACES workflow

By Debra Kaufman

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

Andreas Brueckl

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

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

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

Bazaar

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

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

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

Hope Aur Hum

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

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

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

Main Image: Bazaar


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

Color Chat: Light Iron’s Sean Dunckley

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

NAME: Sean Dunckley

COMPANY: LA- and NYC-based Light Iron

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

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

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

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

Hulu’s Fyre Fraud doc.

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

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

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

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

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

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

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

Late Night with Emma Thompson. Photo by Emily Aragones

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

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

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

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

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

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

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

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

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

Company 3 NY adds senior colorist Joseph Bicknell

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

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

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

Autodesk’s Flame 2020 features machine learning tools

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

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

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

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

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

Review: Mzed.com’s Directing Color With Ollie Kenchington

By Brady Betzel

I am constantly looking to educate myself, no matter what the source — or subject. Whether I am learning how to make a transition in Adobe After Effects from an eSports editor on YouTube to Warren Eagles teaching color correction in Blackmagic’s DaVinci Resolve on FXPHD.com, I’m always beefing up my skills. I even learn from bad tutorials — they teach you what not to do!

But when you come across a truly remarkable learning experience, it is only fair to share with the rest of the world. Last year I saw an ad for an MZed.com course called “Directing Color With Ollie Kenchington,” and was immediately interested. These days you can pretty much find any technical tutorial you can dream of on YouTube, but truly professional, higher education-like, theory-based education series are very hard to come by. Even ones you need to pay for aren’t always worth their price of admission, which is a huge let down.

Ollie sharing his wisdom.

Once I gained access to MZed.com I wanted to watch every educational series they had. From lighting techniques with ASC member Shane Hurlbut to the ARRI Amira Camera Primer, there are over 150 hours of education available from industry leaders. However, I found my way to Directing Color…

I am often asked if I think people should go to college or a film school. My answer? If you have the money and time, you should go to college followed by film school (or do both together, if the college offers it). Not only will you learn a craft, but you will most likely spend hundreds of hours studying and visualizing the theory behind it. For example, when someone asks me about the science behind camera lenses, I can confidently answer them thanks to my physics class based on lenses and optics from California Lutheran University (yes, a shameless plug).

In my opinion, a two-, four- or even 10-year education allows me to live in the grey. I am comfortable arguing for both sides of a debate, as well as the options that are in between —  the grey. I feel like my post-high school education really allowed me to recognize and thrive in the nuances of debate. Leaving me to play devil’s advocate maybe a little too much, but also having civil and proactive discussions with others without being demeaning or nasty — something we are actively missing these days. So if living in the grey is for you, I really think a college education supplemented by online or film school education is valuable (assuming you make the decision that the debt is worth it like I did).

However, I know that is not an option for everyone since it can be very expensive — trust me, I know. I am almost done paying off my undergraduate fees while still paying off my graduate ones, which I am still two or three classes away from finishing. That being said, Directing Color With Ollie Kenchington is the only online education series I have seen so far that is on the same level as some of my higher education classes. Not only is the content beautifully shot and color corrected, but Ollie gives confident and accessible lessons on how color can be used to draw the viewer’s attention to multiple parts of the screen.

Ollie Kenchington is a UK-based filmmaker who runs Korro Films. From the trailer of his Directing Color series, you can immediately see the beauty of Ollie’s work and know that you will be in safe hands. (You can read more about his background here.)

The course raises the online education bar and will elevate the audiences idea of professional insight. The first module “Creating a Palette” covers the thoughts behind creating a color palette for a small catering company. You may even want to start with the last Bonus Module “Ox & Origin” to get a look at what Ollie will be creating throughout the seven modules and about an hour and a half of content.

While Ollie goes over “looks,” the beauty of this course is that he goes through his internal thought processes including deciding on palettes based on color theory. He didn’t just choose teal and orange because it looks good, he chooses his color palette based on complementary colors.

Throughout the course Ollie covers some technical knowledge, including calibrating monitors and cameras, white balancing and shooting color charts to avoid having wrong color balance in post. This is so important because if you don’t do these simple steps, your color correction session while be much harder. And wasting time on fixing incorrect color balance takes time away from the fun of color grading. All of this is done through easily digestible modules that range from two to 20 minutes.

The modules include Creating a Palette; Perceiving Color; Calibrating Color; Color Management; Deconstructing Color 1 – 3 and the Bonus Module Ox & Origin.

Without giving away the entire content in Ollie’s catalog, my favorite modules in this course are the on-set modules. Maybe because I am not on-set that often, but I found the “thinking out loud” about colors helpful. Knowing why reds represent blood, which raise your heart rate a little bit, is fascinating. He even goes through practical examples of color use in films such as in Whiplash.

In the final “Deconstructing Color” modules, Ollie goes into a color bay (complete with practical candle backlighting) and dives in Blackmagic’s DaVinci Resolve. He takes this course full circle to show how since he had to rush through a scene he can now go into Resolve and add some lighting to different sides of someone’s face since he took time to set up proper lighting on set, he can focus on other parts of his commercial.

Summing Up
I want to watch every tutorial MZed.com has to offer. From “Philip Bloom’s Cinematic Masterclass” to Ollie’s other course “Mastering Color.” Unfortunately, as of my review, you would have to pay an additional fee to watch the “Mastering Color” series. It seems like an unfortunate trend in online education to charge a fee and then when an extra special class comes up, charge more, but this class will supposedly be released to the standard subscribers in due time.

MZed.com has two subscription models: MZed Pro, which is $299 for one year of streaming the standard courses, and MZed Pro Premium for $399. This includes the standard courses for one year and the ability to choose one “Premium” course.

“Philip Bloom’s Cinematic Master Class” was the Premium course I was signed up for initially, but you you can decide between this one and the “Mastering Color” course. You will not be disappointed regardless of which one you choose. Even their first course “How to Photograph Everyone” is chock full of lighting and positioning instruction that can be applied in many aspects of videography.

I really was impressed with Directing Color with Ollie Kenchington, and if the other course are this good MZed.com will definitely become a permanent bookmark for me.


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

VFX and color for new BT spot via The Mill

UK telco BT wanted to create a television spot that showcased the WiFi capabilities of its broadband hub and underline its promise of “whole home coverage.” Sonny director Fredrik Bond visualized a fun and fast-paced spot for agency AMV BBDO, and a The Mill London was brought onboard to help with VFX and color. It is called Complete WiFi.

In the piece, the hero comes home to find it full of soldiers, angels, dancers, fairies, a giant and a horse — characters from the myriad of games and movies the family are watching simultaneously. Obviously, the look depends upon multiple layers of compositing, which have to be carefully scaled to be convincing.

They also need to be very carefully color matched, with similar lighting applied, so all the layers sit together. In a traditional workflow, this would have meant a lot of loops between VFX and grading to get the best from each layer, and a certain amount of compromise as the colorist imposed changes on virtual elements to make the final grade.

To avoid this, and to speed progress, The Mill recently started using BLG for Flame, a FilmLilght plugin that allows Baselight grades to be rendered identically within Flame — and with no back and forth to the color suite to render out new versions of shots. It means the VFX supervisor is continually seeing the latest grade and the colorist can access the latest Flame elements to match them in.

“Of course it was frustrating to grade a sequence and then drop the VFX on top,” explains VFX supervisor Ben Turner. “To get the results our collaborators expect, we were constantly pushing material to and fro. We could end up with more than a hundred publishes on a single job.”

With the BLG for Flame plugin, the VFX artist sees the latest Baselight grade automatically applied, either from FilmLight’s BLG format files or directly from a Baselight scene, even while the scene is still being graded — although Turner says he prefers to be warned when updates are coming.

This works because all systems have access to the raw footage. Baselight grades non-destructively, by building up layers of metadata that are imposed in realtime. The metadata includes all the grading information, multiple windows and layers, effects and relights, textures and more – the whole process. This information can be imposed on the raw footage by any BLG-equipped device (there are Baselight Editions software plugins for Avid and Nuke, too) for realtime rendering and review.

That is important because it also allows remote viewing. For this BT spot, director Bond was back in Los Angeles by the time of the post. He sat in a calibrated room in The Mill in LA and could see the graded images at every stage. He could react quickly to the first animation tests.

“I can render a comp and immediately show it to a client with the latest grade from The Mill’s colorist, Dave Ludlam,” says Turner. “When the client really wants to push a certain aspect of the image, we can ensure through both comp and grade that this is done sympathetically, maintaining the integrity of the image.”

(L-R) VFX supervisor Ben Turner and colorist Dave Ludlam.

Turner admits that it means more to-ing and fro-ing, but that is a positive benefit. “If I need to talk to Dave then I can pop in and solve a specific challenge in minutes. By creating the CGI to work with the background, I know that Dave will never have to push anything too hard in the final grade.”

Ludlam agrees that this is a complete change, but extremely beneficial. “With this new process, I am setting looks but I am not committing to them,” he says. “Working together I get a lot more creative input while still achieving a much slicker workflow. I can build the grade and only lock it down when everyone is happy.

“It is a massive speed-up, but more importantly it has made our output far superior. It gives everyone more control and — with every job under huge time pressure — it means we can respond quickly.”

The spot was offlined by Patric Ryan from Marshall Street. Audio post was via 750mph with sound designers Sam Ashwell and Mike Bovill.

FilmLight offers additions to Baselight toolkit

FilmLight will be at NAB showing updates to its Baselight toolkit, including T-Cam v2. This is FilmLight’s new and improved color appearance model, which allows the user to render an image for all formats and device types with confidence of color.

It combines with the Truelight Scene Looks and ARRI Look Library, now implemented within the Baselight software. “T-CAM color handling with the updated Looks toolset produces a cleaner response compared to creative, camera-specific LUTs or film emulations,” says Andrea Chlebak, senior colorist at Deluxe’s Encore in Hollywood. “I know I can push the images for theatrical release in the creative grade and not worry about how that look will translate across the many deliverables.”

FilmLight had added what they call “a new approach to color grading” with the addition of Texture Blend tools, which allow the colorist to apply any color grading operation dependent on image detail. This gives the colorist fine control over the interaction of color and texture.

Other workflow improvements aimed at speeding the process include enhanced cache management; a new client view that displays a live web-based representation of a scene showing current frame and metadata; and multi-directory conform for a faster and more straightforward conform process.

The latest version of Baselight software also includes per-pixel alpha channels, eliminating the need for additional layer mattes when compositing VFX elements. Tight integration with VFX suppliers, including Foundry Nuke and Autodesk, means that new versions of sequences can be automatically detected, with the colorist able to switch quickly between versions within Baselight.

Disney Channel’s Fast Layne director Hasraf ‘HaZ’ Dulull

By Randi Altman

London-based Hasraf “HaZ” Dulull is a man with a rich industry background. He started out in this business as a visual effects artist (The Dark Knight, Hellboy 2) and VFX supervisor (America: The Story of the US), and has expanded his resume in recent years to include producer, screenwriter and feature film director of his own projects (The Beyond, 2036 Origin Unknown).

HaZ (left) on set directing Disney’s Fast Layne.

Even more recently, he added television series director to that long list, thanks to his work on Disney Channel’s action-comedy miniseries Fast Layne, where he directed Episodes 1, 2, 7 and 8. He is currently developing a slate of feature and TV projects with his next film being a sci-fi/horror offering called Lunar, which is scheduled to start shooting later in the year.

Fast Layne focuses on a very bright 12-year-old girl named Layne and her eccentric neighbor, who find V.I.N., a self-driving and talking car in an abandoned shed. The car, the girls and a classmate with experience fixing cars embark on high-speed adventures while trying to figure out why V.I.N. was created, all the while tangling with bad guys and secret agents. You can watch Fast Layne on Sundays at 7:00pm ET/PT on Disney Channel.

We reached out to Dulull to find out more about establishing the look of the show, as well as his process, and how he uses his post background to inform his directing.

As the pilot director, what was your process in establishing the look for the show?
My process was very similar to how I worked on my feature films, since I come from a filmmaking-style that is very visually driven and hands-on. As a director, I would usually do lots of look development on my end anyway, which for Fast Layne involved creating style frames in Photoshop with direction notes and ideas. These eventually became a look bible for the show.

I worked closely with the Disney Channel’s development team and the showrunners Matt Dearborn, Tom Burkhard and Travis Braun (the creator of the show). We would discuss the ideas from the early style frames I had created and developed further, along with a set of rules of what the color palette should be, the graphics and even the style of framing with the key sequences.

By the end of the process, we firmly set the tone and mood of the show as having a saturated and punchy look, while feeling slick and cinematic with a lot of energy. Since we were shooting in Vancouver during the time of year that it gets overcast/grey very quickly, we made sure the art department had many colorful objects in the environment/sets to help — including the cast’s wardrobes.

How did you work with the DP and colorist? Who did the color, and do you know the tools they used?
We had a great DP — Neil Cervin and his team of camera ninjas! They are super-fast and so collaborative in pushing the shots further.

During the prep stage, I worked closely with Neil on the look of the show, and he was really into what we wanted to do something punchy, so he made sure we retained that throughout.

Our A camera was always the ARRI Alexa during the pilot shoot. We had a DIT, Jay Rego, who would quickly apply looks on the frames we had shot using DaVinci Resolve. During this on-set color process, we would see how far we could push it with the grade and what additional lighting we would need to achieve the look we were after. This really helped us nail the look very quickly and get it approved by the showrunners and the Disney Channel team on set before we continued shooting.

We then saved those looks as DPX frames along with CDLs (color decision lists) and sent those over to colorist Lionel Barton over at Vancouver’s OmniFilm Entertainment to work from in Blackmagic Resolve. This saved time in the grading process since that was done early during the shoot. Larry and his team at Omnifilm were taking the look we had set and pushing it further with each shot across all the episodes.

Colorist Lionel Barton during grading session.

Can you talk about the car sequences? They are fun!
On the first days of prepping the show, I cut a mood reel of car chase action scenes, making clear that I love well-designed car chases and that we need to give the kids that cinematic experience they get in movies. Plus, Travis came from a NASCAR racing family, so he backed this up.

We designed the car action scenes to be fun and energetic with cool camera angles — not violent and frenetic (like the Bourne films). We were not doing crazy camera shake and motion blur action scenes; this is slick and cool action — we want the kids to experience those key action moments and go “wow.”

You are known for directing your own feature films. What was it like to direct your first TV series for a studio as big as Disney Channel?
Firstly, I’m incredibly grateful for Disney Channel giving me the opportunity to be on this journey. I have to thank Rafael Garcia at Disney Channel, who lobbied hard for me early in the process.

The first thing I quickly picked up and made sure stayed in my mind is that feature film is a director’s medium, whereas TV is a writer’s medium. So with that in mind, I ensured I collaborated very closely with Matt, Tom, and Travis on everything. Those guys were such a bundle of joy to work with. They were continually pushing the show with additional writing, and they supported me and the other directors (Joe Menendez, Rachel Leiterman) on our episodes throughout, making sure we hit those essential comedy and drama moments they wanted for the show. In fact, I would be in the same car as Matt (some days with Tom) to the shoot location every morning and back to our hotel every evening, going through things on the script, the shoot, etc. — this was a very tight collaboration, and I loved it.

The big difference between the feature films I had done and this TV series is the sheer amount of people involved from an executive and creative level. We had the writing team/execs/showrunners, then we had the executives at the Disney Channel, and we also had the team from the production company Omnifilm.

Therefore, we all had to be in sync with the vision and decisions taken. So once a decision was made, it was tough to go back and retract, so that ensured we were all making the right decisions throughout. I have to say the Fast Layne team were all very collaborative and respectful to each other, which made the “network studio” experience a very pleasant and creative one.

You are also credited as creative consultant on all the episodes? What did that entail?
I fell into that role almost automatically after shooting my first block (Episodes 1 and 2). I think it’s due to my filmmaking nature — being so hands-on technically and creatively and having that know-how from my previous projects on creating high-concept content (which usually involves a lot of visual effects) on a tight budget and schedule.

I had also done a lot of work in advance regarding how we would shoot stuff fast to allow things to be taken further in VFX. The network wanted to have someone that knew the show intimately to oversee that during the post production stage. So once production wrapped, I flew back home to London and continued working on the show by reviewing dailies, cuts and VFX shots and providing notes and creative solutions and being on conference calls with Disney and Omnifilm.

What tools were used for review and approval?
I used Evernote to keep all my notes neat and organized, and we would use Aspera for transferring files securely while Pix was the primary platform for reviewing cuts and shots.

Most of the time I would provide my notes visually rather than writing long emails, so a screen grab of the shot and then lots of arrows and annotations. I was in this role (while doing other stuff) right up to the end of the show’s post, so at the time of answering these questions I just signed off on the last episode grade (Episode 8) last week. I am now officially off the show.

You mostly shoot on Alexa, can you talk about what else you used during production?
Yes, we shot on Alexa with a variety of lenses at 3K to allow us to pan and scan later for HD deliverable. We also used GoPro and DJI Osmo’s (4K) for V.I.N.’s POV, and some DJI Drone shots too.

The biggest camera tech toy we had on the show was the Russian Arm! (It didn’t help that I keep quoting Micheal Bay during the prep of the car chase scenes). So somehow the production team managed to get us a Russian Arm for the day, and what we achieved with that was phenomenal.

We got so much bang for our buck. The team operating it, along with the stunt driving team, worked on films like Deadpool 2, so there was a moment during second unit when we almost forgot this was a kids’ show because it had the energy of an action feature film.

Russian Arm

Stylistically, we always kept the camera moving, even during drama scenes — a slow move helped give perspective and depth. All the camera moves had to be slick; there was no handheld-style in this show.

For earlier scenes in Episode 1 with Layne, we used the idea of a single camera move/take, which was choreographed slickly and timed with precision. This was to reflect the perfect nature of Layne’s character being super-organized like a planner. Most of these camera moves were simply achieved with a dolly/track and slider. Later on in the the show, as Layne’s character breaks out of her comfort zone of being safe and organized, she begins to be more spontaneous, so the camera language reflected that too with more loose shots and whip pans.

You are a post/VFX guy at heart, how did that affect the way you directed Fast Layne?
Oh yes, it had a massive influence on the way I directed my episodes, but only from a technical side of things, not creatively in the way I worked with the actors.

With my VFX background, I had the instinct to be sensible with things, such as how to frame the shots to make VFX life smoother, where to stage my actors to avoid them crossing over tracing markers (to save money on paint-outs) and, of course, to use minimal green/blue screen for the car scenes.

I knew the spill coming from the greenscreens would be a nightmare in VFX, so to avoid that as much as I could, we shot driving plates and then used a lot of rear/side projections playing them back.

Previs

The decision to go that route was partly based on my experience as a compositor back in the day, crying in the late hours de-spilling greenscreen on reflection and dealing with horrible hair mattes. The only time we shot greenscreen was for scenes where the camera was moving around areas we didn’t have screen projection space for. We did shoot car greenscreen for some generic interior plates to allow us to do things later in post if we needed to create an insert shot with a new background.

Did you use previs?
As you know from our conversations about my previous projects, I love previs and find that previs can save so much money later on in production if used right.

So the car chase sequences, along with a big action scene in the series finale, had to be prevised, mainly because we had to end big but only had limited time to shoot. The previs was also instrumental with getting first VFX budgets in for the sequences and helping the 1st AD create the schedule.

Vancouver’s Atmosphere VFX was kind enough to let me come in and work closely with one of the previs artists to map out these key scenes in 3D, while I also did some previs myself using the assets they generated for me. The previs also dictated what lens we needed and how much real estate we needed on the location.

Being a former VFX supervisor certainly helped when communicating with the show’s on-set VFX supervisors Andrew Karr and Greg Behrens. We had a shorthand with each other, which sped things up massively on set with decisions made quickly regarding shooting plates to work with VFX later.

Before and After

On set I would show the actors, via mockups and previs on my iPad, what was going to happen, why I wanted them to be staged in a certain way, and why they should look at this reference, etc. So I think that gave the actors (both the kids and adults) confidence in the scenes that involved VFX.

My personal approach to VFX is that it’s part of the arsenal of tools required to tell the story and, if possible, its best used in combination with the other crafts as opposed to just relying on it solely to achieve things.

Atmosphere created the visual effects?
Yes. I have been a fan of their work from the first season of The Expanse. They were the only main VFX house on the show and handled the CG V.I.N. shots, steering wheel transformation, and V.I.N.’s front grill, as well as other shots involving digital cloth, a robotic arm and a helicopter that appears in later episodes.

We also had a team of internal VFX artists (Mike Jackson and Richard Mintak) working for Omnifilm who were on throughout the post schedule. They handled the smaller VFX, compositing and graphics type shots, such as the windshield graphics, V.I.N.’s internal visual screen and other screen graphics as well as Layne’s Alonzo watch graphics.

How many VFX in total?
There were 1,197 VFX shots delivered, with Atmosphere VFX providing the main bulk of around 600, while the rest were graphics VFX shots done by our internal VFX team at Omnifilm.

Most of the visual effects involving CGI in the show involved V.I.N. doing cool things and his front grill communicating his emotion.

During my pitch for getting the job, I referenced my film 2036 Origin Unknown as an example of visual communication I had explored when it came to AI and characters.

From that we explored further and knew we wanted something with personality, but not with a face. We were very clear at the start that this was not going to be cartoony or gimmicky; it had to feel technologically cool, yet fresh and unique. We didn’t want to have the typical LED screen displaying graphics or emoji. Instead, we went for something resembling a pushpin cushion to give it a little organic touch — it showing that this was advanced tech, but used simple arrangements of pins moving in and out to create the shape of the eyes to communicate emotion.

It was important we went with a visual approach, which was simple to communicate with our core audience, for V.I.N. to come across visually as a personality with comedy beats. I remember being in my hotel room, drawing up emotive sketches on paper to see how simple we could get V.I.N. to be and then emailing them across to the writers for their thoughts.

Atmosphere spent some time developing R&D in Maya and Python scripting to create a system that could feed off the sound files to help generate the animation of the pins. The passes were rendered out of Maya and Vray and then composited with the final look established in Foundry Nuke.

To ensure we didn’t end up with a show where all the shots needed VFX, V.I.N.’s emotive visuals on the front grill can pop on and off when required. That meant that during the car chase sequences, V.I.N.’s face would only pop up when needed (like when it was angry as it was being chased or to show its competitive face during a race). Having this rule in place allowed us to stick with our budget and schedule as closely as possible without extreme overages (which tends to happen after editorial).

For the scenes that involved a CGI V.I.N., we shot the live-action plates with a special buggy developed exclusively for the show. This allowed our stunt driver to do cool car maneuvers and tricks, while also providing a body frame that had lots of space for rigging cameras to capturing the HDRI of the environment. It also had tracking markers across it to allow for full object tracking. (See before and after image of the buddy and CGI VIN).

The other big bulk of the VFX was all the UI/heads up display graphics on V.I.N.’s windshield, which was the way the car’s system displayed information. During Transformed mode, the windshield became a navigation system to help support Layne. It couldn’t be too crazy since we were dealing with pop-up windows overlaid so we can still see the driving action outside.

Most of those graphics were done by our internal team at Omnifilm, by graphic designers and compositors using Adobe After Effects with render passes such as wireframes of V.I.N. provided by Atmosphere. We wanted to show that the car was technologically cool without having to use any tech speak in the script. So we researched a lot into what automated cars are doing and what the developments are for the future and depicted this in the show.

Before and After

Can you provide an example?
In Episode 1, when the windshield presents a trajectory of the jump across the construction bridge, a wireframe of the bridge based on its LIDAR scan capabilities was shown as a safe jump option. Another example was during the first big motorway chase sequence. V.I.N. recognized the bad guys chasing them in the SUV, so we featured facial recognition tracking technology to show how V.I.N. was able to read their vitals from this scan as being hostile.

We used this same grounded-tech approach to create the POV of the car, using the graphics style we had created for the windshield, to show what V.I.N. was seeing and thinking and that it was essentially a sentient being. This also helped, editorially, to mix things up visually during the drama scenes inside the car.

The show was shot in Vancouver, what was that like?
I love Vancouver!! There is such a buzz in that city, and that’s because you can feel the filmmaking vibe every day, due to the fact there were like 30 other shows happening at the same time we were shooting Fast Layne! I can’t wait to go back and shoot there again.


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

Goldcrest adds 4K theater and colorist Marcy Robinson

Goldcrest Post in New York City has expanded its its picture finishing services, adding veteran colorist Marcy Robinson and unveiling a new, state-of-the-art 4K theater that joins an existing theater and other digital intermediate rooms. The moves are part of a broader strategy to offer film and television productions packaged post services encompassing editorial, picture finishing and sound.

Robinson brings experience working in features, television, documentaries, commercials and music videos. She has recently been working as a freelance colorist, collaborating with directors Noah Baumbach and Ang Lee. Her background also includes 10 years at the creative boutique Box Services, best known for its work in fashion advertising.

Robinson, who was recruited to Goldcrest by Nat Jencks, the facility’s senior colorist, says she was attracted by the opportunity to work on a diversity of high-quality projects. Robinson’s first projects for Goldcrest include the Netflix documentary The Grass is Greener and an advertising campaign for Reebok.

Robinson started out in film photography and operated a custom color photographic print lab for 13 years. She became a digital colorist after joining Box Services in 2008. As a freelance colorist, her credits include the features Billy Lynn’s Long Halftime Walk, DePalma and Frances Ha, the HBO documentary Suited, commercials for Steve Madden, Dior and Prada, and music videos for Keith Urban and Madonna.

Goldcrest’s new 4K theater is set up for the dual purposes of feature film and HDR television mastering. Its technical features include a Blackmagic DaVinci Resolve Linux Advanced color correction and finishing system, a Barco 4K projector, a Screen Research projection screen and Dolby-calibrated 7:1 surround sound.

Posting director Darren Lynn Bousman’s horror film, St. Agatha

Atlanta’s Moonshine Post helped create a total post production pipeline — from dailies to finishing — for the film St. Agatha, directed by Darren Lynn Bousman (Saw II, Saw III, Saw IV, Repo the Genetic Opera). 

The project, from producers Seth and Sara Michaels, was co-edited by Moonshine’s Gerhardt Slawitschka and Patrick Perry and colored by Moonshine’s John Peterson.

St. Agatha is a horror film that shot in the town of Madison, Georgia. “The house we needed for the convent was perfect, as the area was one of the few places that had not burned down during the Civil War,” explains Seth Michaels. “It was our first time shooting in Atlanta, and the number one reason was because of the tax incentive. But we also knew Georgia had an infrastructure that could handle our production.”

What the producers didn’t know during production was that Moonshine Post could handle all aspects of post, and were initially brought in only for dailies. With the opportunity to do a producer’s cut, they returned to Moonshine Post.

Time and budget dictated everything, and Moonshine Post was able to offer two editors working in tandem to edit a final cut. “Why not cut in collaboration?” suggested Drew Sawyer, founder of Moonshine Post and executive producer. “It will cut the time in half, and you can explore different ideas faster.”

“We quite literally split the movie in half,” reports Perry, who, along with Slawitschka, cut on Adobe Premiere “It’s a 90-minute film, and there was a clear break. It’s a little unusual, I will admit, but almost always when we are working on something, we don’t have a lot of time, so splitting it in half works.”

Patrick Perry

Gerhardt Slawitschka

“Since it was a producer’s cut, when it came to us it was in Premiere, and it didn’t make sense to switch over to Avid,” adds Slawitschka. “Patrick and I can use both interchangeably, but prefer Premiere; it offers a lot of flexibility.”

“The editors, Patrick and Gerhardt, were great,” says Sara Michaels. “They watched every single second of footage we had, so when we recut the movie, they knew exactly what we had and how to use it.”

“We have the same sensibilities,” explains Gerhardt. “On long-form projects we take a feature in tandem, maybe split it in half or in reels. Or, on a TV series, each of us take a few episodes, compare notes, and arrive at a ‘group mind,’ which is our language of how a project is working. On St. Agatha, Patrick and I took a bit of a risk and generated a four-page document of proposed thoughts and changes. Some very macro, some very micro.”

Colorist John Peterson, a partner at Moonshine Post, worked closely with the director on final color using Blackmagic’s Resolve. “From day one, the first looks we got from camera raw were beautiful.” Typically, projects shot in Atlanta ship back to a post house in a bigger city, “and maybe you see it and maybe you don’t. This one became a local win, we processed dailies, and it came back to us for a chance to finish it here,” he says.

Peterson liked working directly with the director on this film. “I enjoyed having him in session because he’s an artist. He knew what he was looking for. On the flashbacks, we played with a variety of looks to define which one we liked. We added a certain amount of film grain and stylistically for some scenes, we used heavy vignetting, and heavy keys with isolation windows. Darren is a director, but he also knows the terminology, which gave me the opportunity to take his words and put them on the screen for him. At the end of the week, we had a successful film.”

John Peterson

The recent expansion of Moonshine Post, which included a partnership with the audio company Bare Knuckles Creative and a visual effects company Crafty Apes, “was necessary, so we could take on the kind of movies and series we wanted to work with,” explains Sawyer. “But we were very careful about what we took and how we expanded.”

They recently secured two AMC series, along with projects from Netflix. “We are not trying to do all the post in town, but we want to foster and grow the post production scene here so that we can continue to win people’s trust and solidify the Atlanta market,” he says.

Uncork’d Entertainment’s St. Agatha was in theaters and became available on-demand starting February 8. Look for it on iTunes, Amazon, Google Play, Vudu, Fandango Now, Xbox, Dish Network and local cable providers.

Review: Tangent Wave 2: Color Correction Surface

By Brady Betzel

Have you ever become frustrated while color correcting footage after a long edit due to having to learn a whole new set of shortcuts and keystrokes?

Whether you’re in Adobe Premiere, Avid Media Composer or Blackmagic Resolve, there are hundreds of shortcuts you can learn to become a highly efficient colorist. If you want to become the most efficient colorist you can be, you need an external hardware color panel (clearly we are talking to those who provide color as part of their job but not as their job). You may have seen the professional color correction panels like the Blackmagic DaVinci Panel or the Filmlight Blackboard 2 panel for Baselight. Those are amazing and take a long time of repetitive use to really master (think Malcolm Gladwell’s 10,000 Hour Rule). Not to mention they can cost $30,000 or more… yikes! So if you can’t quite justify the $30,000 for a dedicated color correction panel don’t fret. You still have options.

One of those options is the Tangent Wave, which is at the bottom end of the price range. Before I dig in, I need to note that it only works with Avid if you also use the FilmLight Baselight for Media Composer plugin. So Avid users, keep that in mind.

Tangent has one of the most popular sub-$3,500 set of panels used constantly by editing pros: Tangent Elements. I love the Tangent Elements panel, but at just under $3,500 they aren’t cheap, and I can understand how a lot of people could be put off — plus, it can take up your entire desktop real estate with four panels. Blackmagic sells its Mini panel for just under $3,000, but it only works with Resolve. So if you bounce around between apps that one isn’t for you.

Tangent released the first generation Wave panel around 2010 and it took another eight years to realize that people want color correction panels but don’t want to spend a lot of money. That’s when they released the Tangent Wave 2. The original Tangent Wave was a great color correction panel, but in my opinion was ergonomically inefficient. It was awkward — but at around $1,500 it was one of the only options that was semi-affordable.

In 2016, Tangent released the Tangent Ripple, which has a limited toolset, including three trackballs with dials, reset buttons and shift/alt buttons, costing around $350. You can read my review here. That’s a great price point but it is really limiting. If you are doing very basic color correction, like hue corrections and contrast moves, this is great. But if you want to dive into Power Windows, Hue Qualifiers or maybe even cycling through LUTs you need more. This is where the Tangent Wave 2 comes into play.

Tangent Wave 2
The Tangent Wave 2 works with the Tangent Mapper software, an app to help customize the key and knob mapping if the application you are using let’s you customize the keys. It just so happens that Premiere is customizable but Resolve is not (no matter what panel you are using, not just Tangent).

The Wave 2 is much more comfortable than the original Wave and has enough buttons to get 60% of the shortcuts in these apps. If you are in Premiere you can re-map keys and get where you want much faster than Resolve. However, Resolve’s mapping is set by Blackmagic and has almost everything you need. What it doesn’t have mapped is quickly accessible by keyboard or mouse.

If you’ve ever used the Element panels you will remember its high-grade components (which probably added to the price tag) — including the trackballs and dials. Everything feels very professional on the Elements, very close to the high-end Precision Panels or DaVinci Panels. The Wave 2’s components are on the lower end. They aren’t bad components, just cheaper. The trackballs are a little looser in their sockets, in fact don’t turn the panel over or your balls will fall out (or do it to someone else if you want to play a joke, just ask for the serial # on the bottom of the panel). The accuracy on the trackballs doesn’t feel as tight as the Elements, but is usable. The knobs and buttons feel much closer to the level of the Element panels. The overall plastic casing is much lighter and feels a lot cheaper.

However, for around $900 at the time of my writing this review) the Tangent Wave 2 is arguably the best deal for a color correction panel there is. Between the extremely efficient button layout and beautiful ice-white OLED display you will be hard pressed to find a better product for the money. It is also around 15-inch wide, 11-inch deep, and 2-inches tall, which allows for you to keep your keep your keyboards and mice on your desk, unlike the Elements which can take an entire desktop on their own.

Before you plug in your Wave 2 you should download the latest Tangent Hub and Mapper. Once you open the Mapper app you will understand the button and knob layout and how to customize the keys (unless you are using Resolve). In Premiere, I immediately started pressing buttons and turning knobs and found out that once inside of the Lumetri tabs the up and down arrows on the panel worked in the reverse of how my brain wanted them to work. I jumped into the Mapper app, reassigned the up and down arrows to the way I wanted to cycle through the Lumetri panels and without restarting I was up and running. It was awesome not to have to restart anything.

As you go, you will find that each NLE or color app has their own issues and it might take a few tries to get your panel set up the way you want it. I really liked how a few recent LUTs I had installed in the Premiere LUT directory showed up on the panel’s OLED when cycling through LUTs. It was really helpful and I didn’t have to use my mouse to click the drop-down LUT menu. When you go into the Creative Looks you can cycle through those straight from the Wave 2, which is very helpful. Other than that you can control almost every single thing in the Lumetri interface directly from the panel, including going into full screen for review of your color.

If you use Resolve 15, you will really like the Tangent Wave 2. I did notice that the panel worked much smoother and was way more responsive inside of Resolve than inside of Premiere. There could be a few reasons for that, but I work in and out of these apps almost daily and it definitely felt a little delayed in Premiere Pro.

Once you are getting into the nitty gritty of Resolve you will be a little hamstrung when accessing items like the Hue vs Hue curves. You can’t pinpoint hues on the curve window and adjust them straight from the Wave 2. That is where you will want to look at the Element panels. Another shortcut missing was the lack of Offset — there are only three trackballs so you cannot access the 4th Hue wheel aka Offset. However, you can access the Offset through the knobs, and I actually found controlling the Offset through knobs was oddly satisfying and more accurate than the trackballs. It’s a different way of thinking, and I think I might like it.

Without Resolve’s GUI Matching where I was on the Wave 2 panel, I wasn’t always sure where I was at. On the Resolve GUI I might have been in the Curves tab but on the Wave 2 HUD I may have been on the Power Windows tab. If Tangent could sync the Wave 2 and the Resolve GUI so that they match I think the Wave 2 would be a lot easier to use and less confusing, I guess I wouldn’t even call it an update, it’s a legitimate missing feature.

Summing Up
In the end, you will not find a traditional color correction panel setup that works with multiple applications and satisfies all of the requirements of a professional colorist for around $900.

I love the Tangent Element Panels but at over half the price, the Tangent Wave 2 is a great solution without spending what could be used as a down payment on a car.

Check out the Tangent Wave 2 on Tangent’s website.


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

Colorist Christopher M. Ray talks workflow for Alexa 65-shot Alpha

By Randi Altman

Christopher M. Ray is a veteran colorist with a varied resume that includes many television and feature projects, including Tomorrowland, Warcraft, The Great Wall, The Crossing, Orange Is the New Black, Quantico, Code Black, The Crossing and Alpha. These projects have taken Ray all over the world, including remote places throughout North America, Europe, Asia and Africa.

We recently spoke with Ray, who is on staff at Burbank’s Picture Shop, to learn more about his workflow on the feature film Alpha, which focuses on a young man trying to survive alone in the wilderness after he’s left for dead during his first hunt with his Cro-Magnon tribe.

Ray was dailies colorist on the project, working with supervising DI colorist Maxine Gervais. Gervais of Technicolor won an HPA Award for her work on Alpha in the Outstanding Color Grading — Feature Film category.

Let’s find out more….

Chris Ray and Maxine Gervais at the HPA Awards.

How early did you get involved in Alpha?
I was approached about working on Alpha right before the start of principal photography. From the beginning I knew that it was going to be a groundbreaking workflow. I was told that we would be working with the ARRI Alexa 65 camera, mainly working in an on-set color grading trailer and we would be using FilmLight’s Daylight software.

Once I was on board, our main focus was to design a comprehensive workflow that could accommodate on-set grading and Daylight software while adapting to the ever-changing challenges that the industry brings. Being involved from the start was actually was a huge perk for me. It gave us the time we needed to design and really fine-tune the extensive workflow.

Can you talk about working with the final colorist Maxine Gervais and how everyone communicated?
It was a pleasure working with Maxine. She’s really dialed in to the demands of our industry. She was able to fly to Vancouver for a few days while we were shooting the hair/makeup tests, which is how we were able to form in-person communication. We were able to sit down and discuss creative approaches to the feature right away, which I appreciated as I’m the type of person that likes to dive right in.

At the film’s conception, we set in motion a plan to incorporate a Baselight Linked Grade (BLG) color workflow from FilmLight. This would allow my color grades in Daylight to transition smoothly into Maxine’s Baselight software. We knew from the get-go that there would be several complicated “day for night” scenes that Maxine and I would want to bring to fruition right away. Using the BLG workflow, I was able to send her single “Arriraw” frames that gave that “day for night” look we were searching for. She was able to then send them back to me via a BLG file. Even in remote locations, it was easy for me to access the BLG grade files via the Internet.

[Maxine Gervais weighs in on working with Ray: “Christopher was great to work with. As the workflow on the feature was created from scratch, he implemented great ideas. He was very keen on the whole project and was able to adapt to the ever-changing challenges of the show. It is always important to have on-set color dialed in correctly, as it can be problematic if it is not accurately established in production.”]

How did you work with the DP? What direction were you given?
Being on set, it was very easy for DP Martin Gschlacht to come over to the trailer and view the current grade I was working on. Like Maxine, Martin already had a very clear vision for the project, which made it easy to work with him. Oftentimes, he would call me over on set and explain his intent for the scene. We would brainstorm ways of how I could assist him in making his vision come to life. Audiences rarely see raw camera files, or the how important color can influence the story being told.

It also helps that Martin is a master of aesthetic. The content being captured was extremely striking; he has this natural intuition about what look is needed for each environment that he shoots. We shot in lush rain forests in British Columbia and arid badlands in Alberta, which each inspired very different aesthetics.

Whenever I had a bit of down time, I would walk over to set and just watch them shoot, like a fly on the wall quietly observing and seeing how the story was unfolding. As a colorist, it’s so special to be able to observe the locations on set. Seeing the natural desaturated hues of dead grass in the badlands or the vivid lush greens in the rain forest with your own eyes is an amazing opportunity many of us don’t get.

You were on set throughout? Is that common for you?
We were on set throughout the entire project as a lot of our filming locations were in remote areas of British Columbia and Alberta, Canada. One of our most demanding shooting locations included the Dinosaur Provincial Park in Brooks, Alberta. The park is a UNESCO World Heritage site that no one had been allowed to film at prior to this project. I needed to have easy access to the site in order to easily communicate with the film’s executive team and production crew. They were able to screen footage in their trailer and we had this seamless back-and-forth workflow. This also allowed them to view high-quality files in a comfortable and controlled environment. Also, the ability to flag any potential issues and address them immediately on set was incredibly valuable with a film of such size and complexity.

Alpha was actually the first time I worked in an on-set grading trailer. In the past I usually worked out of the production office. I have heard of other films working with an on-set trailer, but I don’t think I would say that it is overly common. Sometimes, I wish I could be stationed on set more often.

The film was shot mostly with the Alexa 65, but included footage from other formats. Can you talk about that workflow?
The film was mostly shot on the Alexa 65, but there were also several other formats it was shot on. For most of the shoot there was a second unit that was shooting with Alexa XT and Red Weapon cameras, with a splinter unit shooting B-roll footage on Canon 1D, 5D and Sony A7S. In addition to these, there were units in Iceland and South Africa shooting VFX plates on a Red Dragon.

By the end of the shoot, there were several different camera formats and over 10 different resolutions. We used the 6.5K Alexa 65 resolution as the master resolution and mapped all the others into it.

The Alexa 65 camera cards were backed up to 8TB “sled” transfer drives using a Codex Vault S system. The 8TB transfer drives were then sent to the trailer where I had two Codex Vault XL systems — one was used for ingesting all of the footage into my SAN and the second was used to prepare footage for LTO archival. All of the other unit footage was sent to the trailer via shuttle drives or Internet transfer.

After the footage was successfully ingested to the SAN with a checksum verification, it was ready to be colored, processed, and then archived. We had eight LTO6 decks running 24/7, as the main focus was to archive the exorbitant amounts of high-res camera footage that we were receiving. Just the Alexa 65 alone was about 2.8TB per hour for each camera.

Had you worked with Alexa 65 footage previously?
Many times. A few year ago, I was in China for seven months working on The Great Wall, which was one of the first films to shoot with the Alexa 65. I had a month of in-depth pre-production with the camera testing, shooting and honing the camera’s technology. Working very closely with Arri and Codex technicians during this time, I was able to design the most efficient workflow possible. Even as the shoot progressed, I continued to communicate closely with both companies. As new challenges arose, we developed and implemented solutions that kept production running smoothly.

The workflow we designed for The Great Wall was very close to the workflow we ended up using on Alpha, so it was a great advantage that I had previous experience working in-depth with the camera.

What were some of the challenges you faced on this film?
To be honest, I love a challenge. As a colorist, we are thrown into tricky situations every day. I am thankful for these challenges; they improve my craft and enable me to become more efficient at problem solving. One of the largest challenges that I faced in this particular project was working with so many different units, given the number of units shooting, the size of the footage alone and the dozens of format types needed.

We had to be accessible around the clock, most of us working 24 hours a day. Needless to say, I made great friends with the transportation driving team and the generator operators. I think they would agree that my grading trailer was one of their largest challenges on the film since I constantly needed to be on set and my work was being imported/exported in such high resolutions.

In the end, as I was watching this absolutely gorgeous film in the theater it made sense. Working those crazy hours was absolutely worth it — I am thankful to have worked with such a cohesive team and the experience is one I will never forget.

Phil Azenzer returns to Encore as senior colorist

Industry veteran and senior colorist Phil Azenzer, one of Encore’s original employees, has returned to the company, bringing with him a credit list that includes TV and features. He was most recently with The Foundation.

When he first started at Encore he was a color assistant, learning the craft and building his client base. Over his post production career, Azenzer has collaborated with many notable directors including David Lynch, Steven Spielberg and David Nutter, as well as high-profile DPs such as Robert McLachlan and John Bartley.

His credits include The X-Files, Six Feet Under, Entourage, Big Love, Bates Motel, Bloodline and most recently, seasons four and five of Black-ish and seasons one and two of Grown-ish.

“Coming back to Encore is really a full circle journey for me, and it feels like coming home,” shared Azenzer. “I learned my craft and established my career here. I’m excited to be back at Encore, not just because of my personal history here, but because it’s great to be at an established facility with the visibility and reputation that Encore has. I’m looking forward to collaborating with lots of familiar faces.”

Azenzer is adept at helping directors and cinematographers create visual stories. With the flexibility to elevate to a variety of desired looks, he brings a veteran’s knowledge and skillset to projects requiring anything from subtle film noir palettes to hyper-saturated stylized looks. Upon departing Encore in 2001, Azenzer spent time at Technicolor and Post Group/io Film before returning to Encore from 2009-2011. Following his second stint at Encore, he continued work as a senior colorist at Modern Videofilm, NBC Universal and Sony.

While his main tool is Resolve, he has also worked with Baselight and  Lustre.

Color plays big role in the indie thriller Rust Creek

In the edge-of-your-seat thriller Rust Creek, confident college student Sawyer (Hermione Corfield) loses her way while driving through very rural Appalachia and quickly finds herself in a life-or-death struggle with some very dangerous men. The modestly-budgeted feature from Lunacy Productions — a company that encourages female filmmakers in top roles — packs a lot of power with virtually no pyrotechnics using well-thought-out filmmaking techniques, including a carefully planned and executed approach to the use of color throughout the film.

Director Jen McGowan and DP Michelle Lawler

Director Jen McGowan, cinematographer Michelle Lawler and colorist Jill Bogdanowicz of Company 3 collaborated to help express Sawyer’s character arc through the use of color. For McGowan, successful filmmaking requires thorough prep. “That’s where we work out, ‘What are we trying to say and how do we illustrate that visually?’” she explains. “Film is such a visual medium,” she adds, “but it’s very different from something like painting because of the element of time. Change over time is how we communicate story, emotion and theme as filmmakers.”

McGowan and Lawler developed the idea that Sawyer is lost, confused and overwhelmed as her dire situation becomes clear. Lawler shot most of Rust Creek handholding an ARRI Alexa Mini (with Cooke S4s) following Sawyer as she makes her way through the late autumn forest. “We wanted her to become part of the environment,” Lawler says. “We shot in winter and everything is dead, so there was a lot of brown and orange everywhere with zero color separation.”

Production designer Candi Guterres pushed that look further, rather than fighting it, with choices about costumes and some of the interiors.

“They had given a great deal of thought to how color affects the story,” recalls colorist Bogdanowicz, who sat with both women during the grading sessions (using Blackmagic’s DaVinci Resolve) at Company 3 in Santa Monica. “I loved the way color was so much a part of the process, even subtly, of the story arc. We did a lot in the color sessions to develop this concept where Sawyer almost blends into the environment at first and then, as the plot develops and she finds inner strength, we used tonality and color to help make her stand out more in the frame.”

Lawler explains that the majority of the film was shot on private property deep in the Kentucky woods, without the use of any artificial light. “I prefer natural light where possible,” she says. “I’d add some contrast to faces with some negative fill and maybe use little reflectors to grab a rake of sunlight on a rock, but that was it. We had to hike to the locations and we couldn’t carry big lights and generators anyway. And I think any light I might have run off batteries would have felt fake. We only had sun about three days of the 22-day shoot, so generally I made use of the big ‘silk’ in the sky and we positioned actors in ways that made the best use of the natural light.”

In fact, the weather was beyond bad, it was punishing. “It would go from rain to snow to tornado conditions,” McGowan recalls. “It dropped to seven degrees and the camera batteries stopped working.”

“The weather issues can’t be overstated,” Lawler adds, describing conditions on the property they used for much of the exterior location. “Our base camp was in a giant field. The ground would be frozen in the morning and by afternoon there would be four feet of mud. We dug trenches to keep craft services from flooding.”

The budget obviously didn’t provide for waiting around for the elements to change, David Lean-style. “Michelle and I were always mindful when shooting that we would need to be flexible when we got to the color grading in order to tie the look together,” McGowan explains. “I hate the term ‘fix it post.’ It wasn’t about fixing something, it was about using post to execute what was intended.”

Jill Bogdanowicz

“We were able to work with my color grading toolset to fine tune everything shot by shot,” says Bogdanowicz. “It was lovely working with the two of them. They were very collaborative but were very clear on what they wanted.”

Bogdanowicz also adapted a film emulation LUT, which was based on the characteristics of a Fujifilm print stock and added in a subtle hint of digital grain, via a Boris FX Sapphire plug-in, to help add a unifying look and filmic feel to the imagery. At the very start of the process, the colorist recalls, “I showed Jen and Michelle a number of ‘recipes’ for looks and they fell in love with this one. It’s somewhat subtle and elegant and it made ‘electric’ colors not feel so electric but has a film-style curve with strong contrast in the mids and shadows you can still see into.”

McGowan says she was quite pleased with the work that came out of the color theater. “Color is not one of the things audiences usually pick up on, but a lot of people do when they see Rust Creek. It’s not highly stylized, and it certainly isn’t a distracting element, but I’ve found a lot of people have picked up on what we were doing with color and I think it definitely helped make the story that much stronger.”

Rust Creek is currently streaming on Amazon Prime and Google.

More Than Just Words: Lucky Post helps bring Jeep’s viral piece to life


Jeep’s More Than Words commercial, out of agency The Richards Group, premiered online just prior to this year’s Super Bowl as part of its Big Game Blitz, which saw numerous projects launched leading up to the Super Bowl.

Quickly earning millions of views, the piece features a version of our national anthem by One Republic, as well as images of the band. The two-minute spot is made up of images of small, everyday moments that add up to something big and evoke a feeling of America.

There is a father and his infant son, people gathered in front of a barn, a football thrown through a hanging tire swing. We see bits of cities and suburbs, football, stock images of Marilyn Monroe and soldiers training for battle — and every once in a while, an image of a Jeep is in view.

The spot ends as it began, with images of One Republic in the studio before the screen goes black and text appears reading: More Than Just Words. Then the Jeep logo appears.

The production Company was Zoom USA with partner Mark Toia directing. Lucky Post in Dallas contributed editorial, color, sounds design and finish to the piece.

Editor Sai Selvarajan used Adobe’s Premiere. Neil Anderson provided the color grade in Blackmagic Resolve, while Scottie Richardson performed the sound design and mix using Avid Pro Tools. Online finishing and effects were via Tim Nagle, who worked in Autodesk Flame.

“The concept is genius in its simplicity; a tribute to faith in our country’s patchwork with our anthem’s words reinforced and represented in image,” says Lucky Post’s Selvarajan. “Behind the scenes, everyone provided collective energy and creativity to bring it to life. It was the product of many, just like the message of the film, and I was so excited to see the groundswell of positive reaction.”

 

 

 

Industry vets open editorial, post studio Made-SF

Made-SF, a creative studio offering editorial and other services, has been launched by executive producer Jon Ettinger, editor/director Doug Walker and editors Brian Lagerhausen and Connor McDonald, all formerly of Beast Editorial. Along with creative editorial (Adobe Premiere), the company will provide motion graphic design (After Effects, Mocha), color correction and editorial finishing (likely Flame and Resolve). Eventually, it plans to add concept development, directing and production to its mix.

“Clients today are looking for creative partners who can help them across the entire production chain,” says Ettinger. “They need to tell stories and they have limited budgets available to tell them. We know how to do both, and we are gathering the resources to do so under one roof.”

Made is currently set up in interim quarters while completing construction of permanent studio space. The latter will be housed in a century-old structure in San Francisco’s North Beach neighborhood and will feature five editorial suites, two motion graphics suites, and two post production finishing suites with room for further expansion.

The four Made partners bring deep experience in traditional advertising and branded content, working both with agencies and directly with clients. Ettinger and Walker have worked together for more than 20 years and originally teamed up to launch FilmCore, San Francisco. Both joined Beast Editorial in 2012. Similarly, Lagerhausen and McDonald have been editing in the Bay Area for more than two decades. Collectively, their credits include work for agencies in San Francisco and nationwide. They’ve also helped to create content directly for Google, Facebook, LinkedIn, Salesforce and other corporate clients.

Made is indicative of a trend where companies engaged in content development are adopting fluid business models to address a diversifying media landscapes and where individual talent is no longer confined to a single job title. Walker, for example, has recently served as director on several projects, including a series of short films for Kelly Services, conceived by agency Erich & Kallman and produced by Caruso Co.

“People used to go to great pains to make a distinction about what they do,” Ettinger observes. “You were a director or an editor or a colorist. Today, those lines have blurred. We are taking advantage of that flattening out to offer clients a better way to create content.”

Main Image Caption: (L-R) Doug Walker, Brian Lagerhausen, Jon Ettinger and Connor McDonald.

Quick Chat: Crew Cuts’ Nancy Jacobsen and Stephanie Norris

By Randi Altman

Crew Cuts, a full-service production and post house, has been a New York fixture since 1986. Originally established as an editorial house, over the years as the industry evolved they added services that target all aspects of the workflow.

This independently-owned facility is run by executive producer/partner Nancy Jacobsen, senior editor/partner Sherri Margulies Keenan and senior editor/partner Jake Jacobsen. While commercial spots might be in their wheelhouse, their projects vary and include social media, music videos and indie films.

We decided to reach out to Nancy Jacobsen, as well as EP of finishing Stephanie Norris, to find out about trends, recent work and succeeding in an industry and city that isn’t always so welcoming.

Can you talk about what Crew Cuts provides and how you guys have evolved over the years?
Jacobsen: We pretty much do it all. We have 10 offline editors as well as artists working in VFX, 2D/3D animation, motion graphics/design, audio mix and sound design, VO record, color grading, title treatment, advanced compositing and conform. Two of our editors double as directors.

In the beginning, Crew Cuts primarily offered only editorial. As the years went by and the industry climate changed we began to cater to the needs of clients and slowly built out our entire finishing department. We started with some minimal graphics work and one staff artist in 2008.

In 2009, we expanded the team to include graphics, conform and audio mix. From there we just continued to grow and expand our department to the full finishing team we have today.

As a woman owner of a post house, what challenges have you had to overcome?
Jacobsen: When I started in this business, the industry was very different. I made less money than my male counterparts and it took me twice as long to be promoted because I am a woman. I have since seen great change where women are leading post houses and production houses and are finally getting the recognition for the hard work they deserve. Unfortunately, I had to “wait it out” and silently work harder than the men around me. This has paid off for me, and now I can help women get the credit they rightly deserve

Do you see the industry changing and becoming less male-dominated?
Jacobsen: Yes, the industry is definitely becoming less male-dominated. In the current climate, with the birth of the #metoo movement and specifically in our industry with the birth of Diet Madison Avenue (@dietmadisonave), we are seeing a lot more women step up and take on leading roles.

Are you mostly a commercial house? What other segments of the industry do you work in?
Jacobsen: We are primarily a commercial house. However, we are not limited to just broadcast and digital commercial advertising. We have delivered specs for everything from the Godzilla screen in Times Square to :06 spots on Instagram. We have done a handful of music videos and also handle a ton of B2B videos for in-house client meetings, etc., as well as banner ads for conferences and trade shows. We’ve even worked on display ads for airports. Most recently, one of our editors finished a feature film called Public Figure that is being submitted around the film festival circuit.

What types of projects are you working on most often these days?
Jacobsen: The industry is all over the place. The current climate is very messy right now. Our projects are extremely varied. It’s hard to say what we work on most because it seems like there is no more norm. We are working on everything from sizzle pitch videos to spots for the Super Bowl.

What trends have you seen over the last year, and where do you expect to be in a year?
Jacobsen: Over the last year, we have noticed that the work comes from every angle. Our typical client is no longer just the marketing agency. It is also the production company, network, brand, etc. In a year we expect to be doing more production work. Seeing as how budgets are much smaller than they used to be and everyone wants a one-stop shop, we are hoping to stick with our gut and continue expanding our production arm.

Crew Cuts has beefed up its finishing services. Can you talk about that?
Stephanie Norris: We offer a variety of finishing services — from sound design to VO record and mix, compositing to VFX, 2D and 3D motion graphics and color grading. Our fully staffed in-house team loves the visual effects puzzle and enjoys working with clients to help interpret their vision.

Can you name some recent projects and the services you provided?
Norris: We just worked on a new campaign for New Jersey Lottery in collaboration with Yonder Content and PureRed. Brian Neaman directed and edited the spots. In addition to editorial, Crew Cuts also handled all of the finishing, including color, conform, visual effects, graphics, sound design and mix. This was one of those all-hands-on-deck projects. Keeping everything under one roof really helped us to streamline the process.

New Jersey Lottery

Working with Brian to carefully plan the shooting strategy, we filmed a series of plate shots as elements that could later be combined in post to build each scene. We added falling stacks of cash to the reindeer as he walks through the loading dock and incorporated CG inflatable decorations into a warehouse holiday lawn scene. We also dramatically altered the opening and closing exterior warehouse scenes, allowing one shot to work for multiple seasons. Keeping lighting and camera positions consistent was mission-critical, and having our VFX supervisor, Dulany Foster, on set saved us hours of work down the line.

For the New Jersey Lottery Holiday spots, the Crew Cuts CG team, led by our creative director Ben McNamara created a 3D Inflatable display of lottery tickets. This was something that proved too costly and time consuming to manufacture and shoot practically. After the initial R&D, our team created a few different CG inflatable simulations prior to the shoot, and Dulany was able to mock them up live while on set. Creating the simulations was crucial for giving the art department reference while building the set, and also helped when shooting the plates needed to composite the scene together.

Ben and his team focused on the physics of the inflation, while also making sure the fabric simulations, textures and lighting blended seamlessly into the scene — it was important that everything felt realistic. In addition to the inflatables, our VFX team turned the opening and closing sunny, summer shots of the warehouse into a December winter wonderland thanks to heavy compositing, 3D set extension and snow simulations.

New Jersey Lottery

Any other projects you’d like to talk about?
Jacobsen: We are currently working on a project here that we are handling soup to nuts from production through finishing. It was a fun challenge to take on. The spot contains a hand model on a greenscreen showing the audience how to use a new product. The shoot itself took place here at Crew Cuts. We turned our common area into a stage for the day and were able to do so without interrupting any of the other employees and projects going on.

We are now working on editorial and finishing. The edit is coming along nicely. What really drives the piece here is the graphic icons. Our team is having a lot of fun designing these elements and implementing them into the spot. We are so proud because we budgeted wisely to make sure to accommodate all of the needs of the project so that we could handle everything and still turn a profit. It was so much fun to work in a different setting for the day and has been a very successful project so far. Clients are happy and so are we.

Main Image: (L-R) Stephanie Norris and Nancy Jacobsen

Company 3 to open Hollywood studio, adds Roma colorist Steve Scott

Company 3 has added Steve Scott as EVP/senior finishing artist. His long list of credits includes Alfonso Cuarón’s Oscar-nominated Roma and Gravity; 19 Marvel features, including The Avengers, Iron Man and Guardians of the Galaxy franchises; and many Academy-Award-winning films, including The Jungle Book, Birdman or The Unexpected Virtue of Ignorance and The Revenant (both took Oscars for director Alejandro Iñárritu and cinematographer Emmanuel Lubezki).

Roma

The addition of Scott comes at a time when Company 3 is completing work on a new location at 950 Lillian Way in Hollywood. This new space represents the first phase of a planned much larger footprint in that area of Los Angeles. This new space will enable the company to significantly expand its capacity while providing the level of artistry and personalized service the industry expects from Company 3. It will also enable them to service more East Side and Valley-based clients.

“Steve is someone I’ve always wanted to work with and I am beyond thrilled that he has agreed to work with us at Company 3,” says CEO Stefan Sonnenfeld. “As we continue the process of re-imagining the entire concept of what ‘post production’ means creatively and technically, it makes perfect sense to welcome a leading innovator and brilliant artist to our team.”

Sonnenfeld and Scott will oversee every facet of this new boutique-style space to ensure it offers the same flexible experience clients have come to expect when working at Company 3. Scott, a devoted student of art and architecture, with extensive professional experience as a painter and architectural illustrator, says, “The opportunity to help design a new cutting-edge facility in my Hollywood hometown was too great to pass up.”

Scott oversees a team of additional artists to offer filmmakers the significantly increased ability to augment and refine imagery as part of the finishing process.

“The industry is experiencing a renaissance of content,” says Sonnenfeld. “The old models of feature film vs. television, long- vs. short-form are changing rapidly. Workflows and delivery methods are undergoing revolutionary changes with more content, and innovative content, coming from a whole array of new sources. It’s a very exciting and challenging time and I think these major additions to our roster and infrastructure will go a long way towards our goal of continuing Company 3’s role as a major force in the industry.”

Main Image Credit: 2018 HPA Awards Ceremony/Ryan Miller/Capture Imaging

Efilm’s Natasha Leonnet: Grading Spider-Man: Into the Spider-Verse

By Randi Altman

Sony Pictures’ Spider-Man: Into the Spider-Verse is not your typical Spider-Man film… in so many ways. The most obvious is the movie’s look, which was designed to make the viewer feel they are walking inside a comic book. This tale, which blends CGI with 2D hand-drawn animation and comic book textures, focuses on a Brooklyn teen who is bitten by a radioactive spider on the subway and soon develops special powers.

Natasha Leonnet

When he meets Peter Parker, he realizes he’s not alone in the Spider-Verse. It was co-directed by Peter Ramsey, Robert Persichetti Jr. and Rodney Rothman and produced by Phil Lord and Chris Miller, the pair behind 21 Jump Street and The Lego Movie.

Efilm senior colorist Natasha Leonnet provided the color finish for the film, which was nominated for an Oscar in the Best Animated Feature category. We reached out to find out more.

How early were you brought on the film?
I had worked on Angry Birds with visual effects supervisor Danny Dimian, which is how I was brought onto the film. It was a few months before we started color correction. Also, there was no LUT for the film. They used the ACES workflow, developed by The Academy and Efilm’s VP of technology, Joachim “JZ” Zell.

Can you talk about the kind of look they were after and what it took to achieve that look?
They wanted to achieve a comic book look. You look at the edges of characters or objects in comic books and you actually see aspects of the color printing from the beginning of comic book printing — the CMYK dyes wouldn’t all be the same line — it creates a layered look along with the comic book dots and expression lines on faces, as if you’re drawing a comic book.

For example, if someone gets hurt you put actual slashes on their face. For me it was a huge education about the comic book art form. Justin Thompson, the art director, in particular is so knowledgeable about the history of comic books. I was so inspired I just bought my first comic book. Also, with the overall look, the light is painting color everywhere the way it does in life.

You worked closely Justin, VFX supervisor Danny Dimian and art director Dean Gordon What was that process like?
They were incredible. It was usually a group of us working together during the color sessions — a real exercise in collaboration. They were all so open to each other’s opinions and constantly discussing every change in order to make certain that the change best served the film. There was no idea that was more important than another idea. Everyone listened to each other’s ideas.

Had you worked on an animated film previously? What are the challenges and benefits of working with animation?
I’ve been lucky enough to do all of Blue Sky Studios’ color finishes so far, except for the first Ice Age. One of the special aspects of working on animated films is that you’re often working with people who are fine-art painters. As a result, they bring in a different background and way of analyzing the images. That’s really special. They often focus on the interplay of different hues.

In the case of Spider-Man: Into the Spider-Verse, they also wanted to bring a certain naturalism to the color experience. With this particular film, they made very bold choices with their use of color finishing. They used an aspect of color correctors that are used to shift all of the hues and colors; that’s usually reserved for music videos. They completely embraced it. They were basically using color finishing to augment the story and refine their hues, especially time of day and progression of the day or night. They used it as their extra lighting step.

Can you talk about your typical process? Did that differ because of the animated content?
My process actually does not differ when I’m color finishing animated content. Continuity is always at the forefront, even in animation. I use the color corrector as a creative tool on every project.

How would you describe the look of the film?
The film embodies the vivid and magical colors that I always observed in childhood but never saw reflected on the screen. The film is very color intense. It’s as if you’re stepping inside a comic book illustrator’s mind. It’s a mind-meld with how they’re imagining things.

What system did you use for color and why?
I used Resolve on this project, as it was the system that the clients were most familiar with.

Any favorite parts of the process?
My favorite part is from start to finish. It was all magical on this film.

What was your path to being a colorist?
My parents loved going to the cinema. They didn’t believe in babysitters, so they took me to everything. They were big fans of the French new wave movement and films that offered unconventional ways of depicting the human experience. As a result, I got to see some pretty unusual films. I got to see how passionate my parents were about these films and their stories and unusual way of telling them, and it sparked something in me. I think I can give my parents full credit for my career.

I studied non-narrative experimental filmmaking in college even though ultimately my real passion was narrative film. I started as a runner in the Czech Republic, which is where I’d made my thesis film for my BA degree. From there I worked my way up and met a colorist (Biggi Klier) who really inspired me. I was hooked and lucky enough to study with her and another mentor of mine in Munich, Germany.

How do you prefer a director and DP describe a look?
Every single person I’ve worked with works differently, and that’s what makes it so fun and exciting, but also challenging. Every person communicates about color differently and our vocabulary for color is so limited, therein lies the challenge.

Where do you find inspiration?
From both the natural world and the world of films. I live in a place that faces east, and I get up every morning to watch the sunrise and the color palette is always different. It’s beautiful and inspiring. The winter palettes in particular are gorgeous, with reds and oranges that don’t exist in summer sunrises.

Color grading The Favourite

Yorgos Lanthimos’ historical comedy, The Favourite, has become an awards show darling. In addition to winning 10 British Independent Film Awards, it also dominated the BAFTA nominations with 12 nods, including Best Film, Best Director, Best Editing, and Best Cinematography for Robbie Ryan, BSC, ISC, who scored an ASC Award nom as well.

Final picture post on the black comedy was completed by Goldcrest Post in London using DaVinci Resolve Studio. The Century Fox film’s DI was overseen by Goldcrest producer Jonathan Collard, with senior colorist Rob Pizzey providing the grade. He was assisted by Maria Chamberlain, while Russell White completed the online edit.

The film stars Olivia Colman (who one a Golden Globe for her role), Emma Stone and Rachel Weisz.

Lensed by Ryan, The Favourite was shot on a mixture of Kodak 500T 5219 and 200T 5207 film stocks with Timothy Jones of Digital Film Bureau scanning the 35mm film negative for the grade at Goldcrest. To capture the full dynamic range of modern film stock, the 2K ARRI scanner was set to 2.5 density range with drama scanning beginning once the edit was locked.

According to colorist Pizzey, once scanned almost everything seen on-screen exposure-wise is what came straight out of the camera. “Robbie did such an amazing job; there were only a handful of shots where I had to tweak the film grain back a little bit.

“In some respects, grading on film can be harder,” he continues. “It does take a lot more balancing because of variations in the scanning process and film stocks. Conversely, with digital capture you have a pretty good balance to begin with, if you start with the CDL values from the digital rushes process.”

Rob Pizzey

He says the way the director worked was very interesting. “Basically, we kept the images very natural and didn’t rely on too many secondaries. Instead, we focused on manipulating the palette using primary color correction to achieve an organic, naturalistic look. It sounds easy, but in truth, it is quite difficult. We started early testing on some of the dailies, a mix of interior and exterior shots, both day and night, to get an idea of where the director and DP wanted to go. We then pushed on with that into the DI.”

DP Ryan wasn’t able to attend the grade, so it was just Pizzey and the director.

“There was a lot of colorization going on in the bottom end of the picture, whether it’s in the shadows and deep blacks or playing with the highlights to create something that looked interesting,” says Pizzey. “We were ultimately still creating a look, it is just a lot more subtle, which is where the challenge lies.”

Most of the film was shot relying on available light only. “There was hardly any artificial lighting used at all during principal photography,” he reports. “The candlelit scenes at night relied solely on the candles themselves and, as you can imagine, there were a lot of candles. The blacks in those scenes are really inky.”

The night scenes were especially tough to complete, with Pizzey relying on Resolve’s primary grading toolset. “Those scenes are very rich and very warm, so we automatically backed off the warmth and tried to dial it down by adding some desaturation. However, it just didn’t look right,” he explains. “We then stripped the grade back and tried to stay as close to what had come out of the camera as we could, with only a few subtle tweaks here and there.”

Looking to embrace the contrast of the film stock, everything about the grade was all very natural and subtle. “For the first couple of weeks everything was about the primaries, and it was only toward the end of the DI that we began to use window shapes and keys on shots that we couldn’t otherwise get to work using primaries alone.

“There was one scene in particular where Yorgos and Robbie had to go back and shoot it five weeks later. Coming into the grade, there were a number of notable differences between the trees, moving from winter into spring, which meant the trees were beginning to bud.”

The Favourite is in theaters now.

Review: Picture Instruments’ plugin and app, Color Cone 2

By Brady Betzel

There are a lot of different ways to color correct an image. Typically, colorists will start by adjusting contrast and saturation followed by adjusting the lift, gamma and gain (a.k.a. shadows, midtones and highlights). For video, waveforms and vectorscopes are great ways of measuring color values and are about the only way to get the most accurate scientific facts on the colors you are manipulating.

Whether you are in Blackmagic Resolve, Avid Media Composer, Adobe Premiere Pro, Apple FCP X or any other nonlinear editor or color correction app, you usually have similar color correction tools across apps — whether you color based on curves, wheels, sliders or even interactively on screen. So when I heard about the way that Picture Instruments Color Cone 2 color corrects — via a Cone (or really a bicone) — I was immediately intrigued.

Color Cone 2 is a standalone app but also, more importantly, a plugin for Adobe After Effects, Adobe Premiere Pro and FCP X. In this review I am focusing on the Premiere Pro plugin, but keep in mind that the standalone version works on still images and allows you to export a 3dl or cube LUTs — a great way for a client to see what type of result you can get quickly from just a still image.

Color Cone 2 is literally a color corrector when used as a plugin for Adobe Premiere. There are no contrast and saturation adjustments, just the ability to select a color and transform it. For instance, you can select a blue sky and adjust the hue, chromanance (saturation) and/or luminance of the resulting color inside of the Color Cone plugin.

To get started you apply the Color Cone 2 plugin to your clip — the plugin is located under Picture Instruments in the Effects tab. Then you click the little square icon in the effect editor panel to open up the Color Cone 2 interface. The interface contains the bicone image representation of the color correction, presets to set up a split-tone color map or a three-point color correct, and the radius slider to adjust the effect your correction has on surrounding color.

Once you are set on a look you can jump out of the Color Cone interface and back into the effect editor inside of Premiere. There you can keyframe all of the parameters you adjusted in the Color Cone interface. This allows for a nice and easy way to transition from no color correction to color correction.

The Cone
The Cone itself is the most interesting part of this plugin. Think of the bicone as the 3D side view of a vectorscope. In other words, if the vectorscope view from a traditional scope is the top view — the bicone in Color Cone would be a side view. Moving your target color from the top cone to the bottom cone will adjust your lightness to darkness (or luminance). At the intersection of the cones is the saturation (or chromanance) and when moving from the center outwards saturation is increased. When a color is selected using the eye dropper you will see a square, which represents the source color selection, a circle representing the target color and an “x” with a line for reference on the middle section.

Additionally, there is a black circle on the saturation section in the middle that shows the boundaries of how far you can push your chromanance. There is a light circle that represents the radius of how surrounding colors are affected. Each video clip can have effects layered on them and one instance of the plugin can handle five colors. If you need more than five, you can add another instance of the plugin to the same clip.

If you are looking to export 3dl and Cube LUTs of your work you will need to use the standalone Color Cone 2 app. The one caveat to using the standalone app is that you can only apply color to still images. Once you do that you can export the LUT to be used in any modern NLE/color correction app.

Summing Up
To be honest, working in Color Cone 2 was a little weird for me. It’s not your usual color correction workflow, so I would need to sit with the plugin for a while to get used to its setup. That being said, it has some interesting components that I wish other color correction apps would use, such as the Cone view. The bicone is a phenomenal way to visualize color correction in realtime.

In my opinion, if Picture Instruments would sell just the Cone as a color measurement tool to work in conjunction with Lumetri, they would have another solid tool. Color Cone 2 has a very unique and interesting way to color correct in Premiere that acts as an advanced secondary color correct tool to the Lumetri color correction tools.

The Color Cone 2 standalone app and plugin costs $139 when purchased together, or $88 individually. In my opinion, video people should probably just stick to the plugin version. Check out Picture Instrument’s website for more info on Color Cone 2 as well as their other products. And check them out on Twitter @Pic_instruments.


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.

Veteran colorist Walter Volpatto joins Efilm

Walter Volpatto, a colorist with 15 years under his belt, has joined LA’s Efilm. His long list of credits includes Dunkirk, Star Wars: The Last Jedi and, most recently, Amazon Studios’ series Homecoming.

As a colorist, Volpatto’s style gravitates toward an aesthetic of realism, though his projects span genres from drama and action to comedy and documentary, such as just-released Green Book, directed by Peter Farrelly; Quentin Tarantino’s The Hateful Eight; Independence Day: Resurgence, directed by Roland Emmerich; and Bad Moms, directed by Jon Lucas and Scott Moore.

He joins Efilm from Fotokem, where he started in digital intermediate before progressively shifting toward fully digital workflows while navigating emerging technologies such as HDR. (Watch our interview with him about his work on The Last Jedi.)

Volpatto found his way into color finishing by way of visual effects, a career he initially pursued as an outlet for his passion for photography. He began working as a digital intermediate artist at Cinecitta in Rome in 2002, before relocating to Los Angeles the following year. Since then, he’s continued honing his skillset for both film and digital, while also expanding his knowledge of color science.

While known for his feature film work, Volpatto periodically works in episodic television. Based at Efilm’s Hollywood facility, will be working at many of Deluxe’s color grading suites, including the newly opened Stage One. He will be working on Blackmagic’s DaVinci Resolve.

Technicolor welcomes colorists Trent Johnson and Andrew Francis

Technicolor in Los Angeles will be beefing up its color department in January with the addition of colorists Andrew Francis and Trent Johnson.

Francis joins Technicolor after spending the last three years building the digital intermediate department of Sixteen19 in New York. With recent credits that include Second Act, Night School, Hereditary and Girls Trip. Francis is a trained fine artist who has established a strong reputation of integrating the bleeding edge of technology in support of the craft of color.

Johnson, a Technicolor alumnus, returns after stints as a digital colorist at MTI, Deluxe and Sony Colorworks. His recent credits include horror hits Slender Man and The Possession of Hannah Grace, as well as comedies Overboard and Ted 2.

Johnson will be using FilmLight and Resolve for his work, while Francis will toggle between Resolve, BaseLight and Lustre, depending on the project.

Francis and Johnson join Technicolor LA’s roster, which includes Pankaj Bajpai, Tony Dustin, Doug Delaney, Jason Fabbro, recent HPA award-winner Maxine Gervais, Michael Hatzer, Roy Vasich, Tim Vincent, Sparkle and others.

Main Image: Trent Johnson and Andrew Francis

Post house Cinematic Media opens in Mexico City, targets film, TV

Mexico City is now home to Cinematic Media, a full-service post production finishing facility focused on television and cinema content   Located on the lot at Estudios GGM, the facility offers dailies, look development, editorial finishing, color grading and other services, and aims to capitalize on entertainment media production in Mexico and throughout Central and South America.

Scot Evans

In its first project, Cinematic Media provided finishing services for the second season of the Netflix series Ingobernable.

CEO Scot Evans brings more than 25 years of post experience and has managed large-scale post production operations in the United States, Mexico and Canada. His recent posts include executive VP at Technicolor PostWorks in New York, managing director of Technicolor in Vancouver and managing director of Moving Picture Company (MPC) in Mexico City.

“We’re excited about the future for entertainment production in Mexico,” says Evans. “Netflix opened the door and now Amazon is in Mexico. We expect film production to also grow. Through its geographic location, strong infrastructure and cinematic history, Mexico is well-positioned to become a strong producer of content for the world market.”

Cinematic Media has been built from the ground up with a workflow modeled after top-tier facilities in Hollywood and geared toward television and cinema finishing. Engineering design was supervised by John Stevens, whose four decades of post experience includes stints at Cinesite, Efilm, The Post Group, Encore Hollywood, MTI Film and, currently, the Foundation.

Resources include a DI theater with DaVinci Resolve, 4K projection and 7.1 surround sound, four color suites supporting 2K, 4K and HDR, multiple editorial finishing suites, and a Colorfront On-Set Dailies system. The facility also offers look development services to assist productions in creating end-to-end color pipelines, as well as quality control and deliverable services for streaming, broadcast and cinema. Plans to add visual effects services are in the works.

“We can handle six or seven series simultaneously,” says Evans. “There is a lot of redundancy built into our pipeline, making it incredibly efficient and virtually eliminating downtime. A lot of facilities in Hollywood would be envious of what we have here.”

Cinematic Media features high-speed connectivity via the private network Sohonet. It will be employed to share media with studios, producers and distributors around the globe securely and efficiently. It will also be used to facilitate remote collaboration with directors, cinematographers, editors, colorists and other production partners.

Evans cites as a further plus Cinematic Media’s location within Estudios GGM, which has six sound stages, production and editorial office space, grip and lighting resources and more. Producers can take projects from concept to the screen from within the confines of the site. “We can literally walk down a flight of stairs to support a project shooting on one of the stages,” he says. “Proximity is important. We expect many productions to locate their offices and editorial teams here.”

Managing director Arturo Sedano will oversee day-to-day operations. He has supervised post for thousands of hours of television and cinema content on behalf of studios and producers from around the globe, including Netflix, Telemundo, Sony Pictures, Viacom, Lionsgate, HBO, TV Azteca, Grupo Imagen and Fox.

Other key staff includes senior colorist Ana Montaño whose experience as a digital colorist spans facilities in Mexico City, Barcelona, London, Dublin and Rome; producer and post supervisor Cyntia Navarro, previously with Lejana Films and Instituto Mexicano de Cinematografía (IMCINE). Her credits span episodic television, feature film and documentaries, and include projects for IFC Films, Canal Once, UPI, Discovery Channel, Netflix and Amazon.

Additional staff includes chief technology officer Oliver De Gante, previously with Ollin VFX, where his credits included the hit films Chappie, Her, Tron: Legacy and The Social Network, as well as the Netflix series House of Cards; technical director Gabriel Kerlegand, a workflow specialist and digital imaging technologist with 18 years of experience in cinema and television; and coordinator and senior conform editor Humberto Flores, formerly senior editor at Zenith Adventure Media.

Mike Sowa joins Fotokem as senior DI colorist

FotoKem in Burbank has added post vet Mike Sowa as senior digital intermediate colorist. Sowa brings over 25 years of experience to his new role, and an impressive resume that includes stints at Modern VideoFilm, Universal High Def Center and jobs at other facilities in Hollywood, including LaserPacific and Technicolor.

His past work includes Kubo and the Two Strings, The Jungle Book, Oblivion, Home of the Brave and The Other Side of the Wind. Sowa is an associate member of the American Society of Cinematographers (ASC).  “I am thrilled to be on board at FotoKem, reuniting with talented people that I have worked with in the past and with new collaborators,” says Sowa.

Sowa becomes part of a color roster that includes Alastor Arnold, David Cole, Mark Griffith, George Koran, Kostas Theodosiou, and Walter Volpatto. Contributions from the team include Star Wars: The Last Jedi, Lemon, The Nun, The Spy Who Dumped Me, Twin Peaks: The Return and The Predator, among many others.

He will be using Lustre and Resolve.

Industry vets launch hybrid studio, Olio Creative

Colorist Marshall Plante, producer Natalie Westerfield and director/creative director Justin Purser founded hybrid studio Olio Creative, which has opened its doors in Venice, California.

Olio features vintage-style décor and an open floor plan and the space is adaptable for freelancers, mobile artists and traveling talent, with two color suites and a suite set up to toggle between editorial and Flame work.

Marshall Plante is a well-known colorist who has built his career at shops such as Digital Magic, Riot, Syndicate and, most recently, at Ntropic where he headed up the color department. His commercial credits include Samsung, Audi, Olay, Nike, Honda, Budweiser, and direct-to-brand projects for Apple and Riot Games. Recently, the Nick Jr. Girls in Charge: Girl Power campaign he graded won an Emmy for Outstanding Daytime Promo Announcement Brand Image Campaign, and the Uber campaign he graded, Rolling With the Champion with Lebron James, won a bronze Cannes Lion.

Marshall’s long-time producer, Natalie Westerfield, has over 10 years of experience producing at companies including The Mill and Ntropic. As executive producer, Westerfield will provide oversight to guide all projects that come through Olio’s pipeline.

The third member of the team is director/creative director Justin Purser. As a director, Purser has worked at production companies A Band Apart and Anonymous Content. He was one of the original creators and directors behind Maker Studios (acquired by Walt Disney Corp.) that pioneered the multi-channel YouTube-centric companies of today.

The three partners will bring an element of experimentation and collaboration to the post production field. “The ability to be chameleons within the industry keeps us open to fresh ideas,” says Pursur. “Our motto is, ‘Try it. If it doesn’t work, pivot.’ And if we thrive in a new way of working, we’re going to share that with everyone. We want to not only make noise for ourselves, but for others in the same business.”

Senior colorist Nicholas Hasson joins Light Iron’s LA team

Post house Light Iron has added senior colorist Nicholas Hasson to its roster. He will be based in the company’s Los Angeles studio.

Hasson colored the upcoming Tiffany Haddish feature Nobody’s Fool and Season 2 of HBO’s Room 104. Additional past credits include Boo 2! A Madea Halloween, Masterminds, All About Nina and commercial campaigns for Apple, Samsung and Google. He worked most recently at Technicolor, but his long career has included time at ILM, Company 3 and Modern VideoFilm.

“Nicholas has a wealth of experience that makes him a great fit with our team,” says Light Iron GM Peter Cioni. “His background in color, online and VFX ensures success in meeting clients’ creative objectives and enables flexibility in working across both episodic and feature projects.”

Like Lightiron’s other LA-based colorists, led by Ian Vertovec, Hasson is able to support cinematographers working in other regions through virtual DI sessions in Panavision’s network of connected facilities. (Light Iron is a Panavision company.)

Hasson joins Light Iron during a time of high-profile streaming releases including Netflix’s Maniac and Facebook’s Sorry For Your Loss, as well as feature releases garnering awards buzz, such as Can You Ever Forgive Me? and What They Had.

“This is a significant time of growth for Panavision’s post production creative services,” concludes Cioni. “We are thrilled to have Nicholas with us as we enter this next chapter of expansion.”

Digital Domain Shanghai’s Simon Astbury talks color, projects

England-born Simon Astbury’s path to color grading wasn’t a straight one. He earned a degree in music and had vague ambitions about working in A&R. “I started working in this industry briefly in the early ‘90s and pretty much hated it,” he shares.

One day, Astbury went to sound sync and dialogue edit in a small facility in Twickenham Film Studios where they had two MkIII Rank Cintel telecines. “It was love at first sight,” he says. “The ‘Heath Robinson’ craziness of these systems, with their very limited color tools in those days, PEC master control (operated with a tweaker) and primaries.

Simon Astbury

“There was no machine control or editing, so no stopping once you’d started. It was a great way to learn the craft, to hone an instinctive reaction to an image that still serves me well today. The green radioactive glow from the tube, the smell of film all went to make grading a much more visceral experience! The early ‘90s was a period of huge change in post. Avid was this new thing that the editors mistrusted, most of them were using Steenbecks at that time.”

Astbury’s path was officially changed and he went on to work on many films, including Shakespeare in Love, Sense and Sensibility and Notting Hill. “I also worked with a bunch of film legends including Roger Pratt, Jack Cardiff, Richard Attenborough, Alan Parker, Franco Zeferelli… and The Spice Girls!”

Astbury has worked in a wide range of genres, from Oscar-winning films to iconic ad campaigns and pop promos. He has collaborated with people like Jack Cardiff, Roger Pratt, Tony Kaye, Paul WS Anderson and many more. Today, he is the head of color at Digital Domain in Shanghai.

Let’s find out more…

You’ve recently moved to Shanghai. Why the move, and are your clients’ requests or expectations there different than in London?
I felt it was time to leave my Soho comfort zone. I’d always intended to travel with the job, but the right opportunity never came up. Then when the offer to relocate came somewhat out of the blue, I consulted my family and we decided to go for it.

Digital Domain has an incredible body of work and a global presence. It was also an opportunity to develop and grow a grading department worldwide in a company that is primarily focused on VFX.

Managing client expectations is always very important, but in China the client really is king or queen. Making sure that the work remains good and not diluted by overthinking and over-tweaking is sometimes a very delicate negotiation.

How have you gone about building or enhancing the grading department at Digital Domain China?
So far I’ve introduced some enhanced workflows and defined training for the juniors and assistants. I’m also attempting to make remote grading available to any of our other offices around the world. Additionally, I’m promoting increased co-operation between our Shanghai and Beijing offices.

You’ve worked on all sorts of projects, from documentaries to features to commercials. Is there a genre you enjoy grading the most?
If it doesn’t sound trite, I would say that good, well-executed work is the most enjoyable to grade. I love commercials because they afford the opportunity to go into detail and occasionally push things creatively.

I love documentaries because the grade can enhance the story in so many different ways. I love dramas because the story arc and mood can be helped immensely by a good grade. I love movies because in my heart I’m a film nut and the opportunity to have your work in a cinema is an incredible buzz that will never ever get old.

What work are you most proud of?
There are a few things that stand out for me, most recently a grade for the wonderful director Nieto at Stink for Wu Fang Zhai. It was great fun to throw away the rulebook and do some crazy stuff.

There are a bunch of things that I’ve done over the years that I remember fondly, a travelogue for BBC4 called Travels With a Tangerine, which was amazingly well shot on SD DVCAM. Also some beautiful films for Volvo directed by Martin Swift, and some epic stuff for Audi directed by Paul WS Anderson. There is also the amazing multi-screen art installation “Mother’s Day” for artist Smadar Dreyfuss about dispossessed stateless children in Israel.

Working with younger directors like Stella Scott has been a great experience for me. Passing on knowledge and at the same time learning new visual languages helps to keep everything fresh. At the other end of the spectrum is The Human Centipede trilogy — it’s not often that you get to be involved in a cultural phenomenon.

Wu Fang Zha

Can you describe a recent project and what tools were particularly beneficial?
The Wu Fang Zhai project was shot on greenscreen with matte-painted backgrounds and sometimes with complicated comps. It was really easy to assemble rough comps in my FilmLight Baselight to ensure the grade looked correct. Layer mode composite settings were particularly useful.

Baselight Editions is also a brilliant tool for VFX-heavy jobs. We have a top-secret project on at the moment and the ability to have a renderless workflow between Baselight and Nuke is invaluable.

As a colorist what are your biggest strengths?
I’ve been doing it for a long time and can come up with creative solutions for most eventualities. Sometimes the client wants you to drive the session and come up with all the ideas, sometimes they want you to do as you are told, and sometimes they want it to be a collaboration. I’m comfortable with any of these scenarios, but the client is paying for my eyes and my interpretation, so sometimes you have to be the guide, even when the client has very definite ideas.

You also have to be the arbiter of taste. So on occasion you have to be firm, particularly when bad decisions are being made. I try to separate my ego from the work and create a calm-but-creative atmosphere in the grade suite. Music is hugely important, as well as a fully stocked drink trolley!

The wonderful colorist Bob Festa has said that he asks people what they want their films to say, rather than how they want them to look, and that’s pretty much my approach. I’ve been compared to an airline pilot or cruise ship captain more than once….I’ll take that (he smiles).

You’ve been a colorist for over 20 years and witnessed the time when color correction was processed in film labs. What are your thoughts today about film versus digital?
I worked exclusively in film for about half my career and I love it. It is tactile, it smells great, it feels good in your hands and, of course, many of the most memorable images in cinema were shot on it. The soft detail, intensity and richness of color, the roll off into the whites and blacks is something that digital still finds hard to replicate.

Gucci commercial

Also, the recent resurgence in Europe and the USA of film in shorts, commercials and promos is great to see. However, I find myself thinking about all those things I don’t miss about film, such as weave, cell scratches, grain, wet gate TK and that buttock-clenching moment when the lab manager tells you the reel had broken in the bath and 300 feet of neg had been destroyed. X-ray fogging! Oh my goodness, I have so many film horror stories.

Modern cameras produce amazingly clear images with great color and response to light with far less in the way of insurmountable problems, and I don’t see either as particularly better. Actually, I think decent glass and proper lighting are just as important as what camera or format you shoot on.

What are the biggest challenges you face today as a colorist?
There are a few, but I don’t think they’re specific to colorists. Content is becoming continually more disposable. It’s more important than ever that respect for the craft — not only of color grading but the whole production and post process — becomes central to every production. The proliferation of display devices is also a big subject, making sure that the grade looks good on phones, tablets, laptops and TVs is an issue that will only get more challenging.

Do you have a routine when grading?
Yes, definitely. Although color is incredibly subjective, I personally think that your process shouldn’t be. I strongly believe there’s a right and wrong way of going about a grade. Every colorist has a different process but there are definitely ways that work and ways that don’t.

The longer I do the job, the more important the psychological aspect of it becomes — how your choices in the grade affect the thoughts and emotions of the viewer… what really matters and what doesn’t. I’m always on a quest to distil the essence of a grade. A lot of the content I see now, in my opinion, is over-graded. We have such comprehensive tools now, so you don’t have to throw the kitchen sink at every shot. “Keep it simple” is a mantra I try to impress upon my juniors.

Baselight is your main tool?
I’ve been working on Baselight for just shy of a decade. My favorite thing about Baselight is what I call “redundancy of process,” by which I mean there are multiple ways of doing most grading operations — hue angle not working? Then try Dkey. Dkey no good? Then try RGB key or curves, etc, etc.

What advice would you give to a junior colorist starting out today?
Be patient, there are no shortcuts, although I think it takes less time nowadays than it did due to the absence of telecines. Be a geek about your industry, cameras, lighting and lenses. Watch movies, ads and everything that’s good. Study art and artists, if only to have common points of reference. Remember that the grading part is only a portion of what makes a good colorist. You’re the host, therapist, barman and ringmaster.

You have to be someone people don’t mind spending 12 hours in a dark room with or they’ll never use you again. With difficult client requests try to say yes and then work out how you’re going to do it; if you can’t do it, suggest an alternative rather than saying no. Social media, especially Instagram is a brilliant medium for colorists, but be careful not to post things just for the sake of it.

Main Image Caption: Wu Fang Zhai 

Deluxe opens 4,000-square-foot color grading theater

Deluxe has opened a new color grading theater called Stage One. It is equipped with a large Stewart and RealDs screens and Barco projectors, as well as advanced color grading, audio and editorial systems. Located in Deluxe Audio Seward at Hollywood’s Glen Glenn Sound building, the 4,000-square-foot space features plush seating and “perfect” black levels.

“I’ve been dreaming of a space like Stage One since I started color finishing,” says senior colorist Skip Kimball, whose recent credits include Deadpool 2 at Efilm. “We’re set up to handle any format and have a fleet of projectors so I can grade on a screen that’s comparable to exhibition; it’s much easier to evaluate the picture and address any issues when you can see it on a 60-foot screen. And the size of Stage One is incredible; it can comfortably accommodate 120 people, so we can handle conform, color and VFX all in one space, with the director and cinematographer for a more streamlined process.”

Deluxe’s Stage One features a RealD Ultimate Screen with a 45’x21’7” maximum image and a Stewart Filmscreen SnoMatte 100 screen with 41’3”x22’4” maximum image, and can accommodate the latest display monitors, allowing production to view content in whatever format is needed throughout production.

The space is also equipped with two Christie Dolby Vision Eclipse laser projectors, capable of providing 108-nit brightness, as well as high frame rate projection and 4K resolution; a Barco DP4K-P reference projector for theatrical grading at 48 nits in 4K resolution; and a Barco DP4K-32B projector for RealD stereo theatrical grading at up to 48 nits in 4K resolution. Available color grading and editorial systems include Blackmagic Resolve, Autodesk Lustre and Flame, and Filmlight Baselight.


Company 3 adds television colorist Jeremy Sawyer 

Company 3 in Santa Monica has beefed up its team of colorists with Jeremy Sawyer (Hulu’s The First, Showtime’s I’m Dying Up Here). He will be working on the studio’s expanding slate of TV projects — they currently have more than 20 series in the facility, including Lost in Space (Netflix), Insecure (HBO) and Jack Ryan (Amazon).

For Sawyer, who has also worked on The Walking Dead (AMC), this move brings him back to Company 3, where he had worked as an assistant and then colorist and where he learned a great deal about his craft from CEO/founder Stefan Sonnenfeld.

He returns to the company following a tenure at Light Iron, and was at MTI before that. Prior to his initial stint at Company 3, Sawyer worked at the now-defunct Syndicate. He started his career at Finish Post in his native Boston.

“We’re very excited to welcome Jeremy back,” Sonnenfeld says. “He is an excellent artist and he has a keen understanding of the unique challenges involved in coloring episodic programming. He’s a perfect addition to our team, especially as demand for top-notch TV post continues to explode.”

Sawyer will continue his work on the third season of Netflix series Easy, for which he’s colored every episode to date.

Encore adds colorist Andrea Chlebak, ups Genevieve Fontaine to director of production

Encore has added colorist Andrea Chlebak to its roster and promoted veteran post producer Genevieve Fontaine to director of production. Chlebak brings a multidisciplinary background in feature films, docu-series and commercials across a range of aesthetics. Fontaine has been a post producer since joining the Encore team in early 2010.

Chlebak’s credits include award-winning indies Mandy and Prospect, Neill Blomkamp features Elysium and Chappie and animated adaptation Kahlil Gibran’s “The Prophet.” Having worked primarily in the digital landscape, her experience as an artist, still photographer, film technician, editor and compositor are evident in both her work and how she’s able to streamline communication with directors and cinematographers in delivering their vision.

In her new role, Fontaine’s responsibilities shift toward ensuring organized, efficient and future-proof workflows. Fontaine began her career as a telecine and dailies producer at Riot before moving to Encore, where she managed post for up to 11 shows at a time, including Marvel’s The Defenders series for Netflix. She understands all the building blocks necessary to keep a facility running smoothly and has been instrumental in establishing Encore, a Deluxe company, as a leader in advanced formats, helping coordinate 4K, HDR and IMF-based workflows.

Main Image: (L-R) Genevieve Fontaine and Andrea Chlebak.

A Conversation: 3P Studio founder Haley Stibbard

Australia’s 3P Studio is a post house founded and led by artisan Haley Stibbard. The company’s portfolio of work includes commercials for brands such as Subway, Allianz and Isuzu Motor Company as well as iconic shows like Sesame Street. Stibbard’s path to opening her own post house was based on necessity.

After going on maternity to have her first child in 2013, she returned to her job at a content studio to find that her role had been made redundant. She was subsequently let go. Needing and wanting to work, she began freelancing as an editor — working seven days a week and never turning down a job. Eventually she realized that she couldn’t keep up with that type of schedule and took her fate into her own hands. She launched 3P Studio, one of Brisbane’s few women-led post facilities.

We reached out to Stibbard to ask about her love of post and her path to 3P Studio.

What made you want to get into post production? School?
I had a strong love of film, which I got from my late dad, Ray. He was a big film buff and would always come home from work when I was a kid with a shopping bag full of $2 movies from the video store and he would watch them. He particularly liked the crime stories and thrillers! So I definitely got my love of film and television from him.

We did not have any film courses at high school in the ‘90s, so the closest I could get was photography. Without a show reel it was hard to get a place at university in the college of art; a portfolio was a requirement and I didn’t have one. I remember I had to talk my way into the film program, and in the end I think they just got sick of me and let me into the course through the back door without a show reel — I can be very persistent when I want to be. I always had enjoyed editing and I was good at it, so in group tasks I was always chosen as the editor and then my love of post came from there.

What was your first job?
My very first job was quite funny, actually. I was working in both a shoe store and a supermarket at the time, and two post positions became available one day, an in-house editor for a big furniture chain and a job as a production assistant for a large VFX company at Movie World on the Gold Coast. Anyone who knows me knows that I would be the worst PA in the world. So, luckily for that company director, I didn’t get the PA job and became the in-house editor for the furniture chain.

I’m glad that I took that job, as it taught me so much — how to work under pressure, how to use an Avid, how to work with deadlines, what a key number was, how to dispatch TVCS to the stations, be quick, be accurate, how to take constructive feedback.

I made every mistake known to man, including one weekend when I forgot to remove the 4×3 safe bars from a TVC and my boss saw it on TV. I ended up having to drive to the office, climb the fence that was locked to get into the office and pull it off air. So I’ve learned a lot of things the hard way, but my boss was a very patient and forgiving man, and 18 years later is now a client of mine!

What job did you hold when you went out on maternity leave?
Before I left on maternity leave to have my son Dashiell, I was an editor for a small content company. I have always been a jack-of-all-trades and I took care of everything from offline to online, grading in Resolve, motion graphics in After Effects and general design. I loved my job and I loved the variety that it brought. Doing something different every day was very enjoyable.

After leaving that job, you started freelancing as an editor. What systems did you edit on at the time and what types of projects? How difficult a time was that for you? New baby, working all the time, etc.
I started freelancing when my son was just past seven months old. I had a mortgage and had just come off six months of unpaid maternity leave, so I needed to make a living and I needed to make it quickly. I also had the added pressure of looking after a young child under the age of one who still needed his mother.

So I started contacting advertising agencies and production companies that I thought may be interested in my skill set. I just took every job that I could get my hands on, as I was always worried that every job that I took could potentially be my last for a while. I was lucky that I had an incredibly well-behaved baby! I never said “no” to a job.

As my client base started to grow, my clients would always book me since they knew that I would never say “no” (they know I still don’t say no!). It got to the point where I was working seven days a week. I worked all day when my son was in childcare and all night after he would go to bed. I would take the baby monitor downstairs where I worked out of my husband’s ‘man den.’

As my freelance business grew, I was so lucky that I had the most supportive husband in the world who was doing everything for me, the washing, the cleaning, the cooking, bath time, as well has holding down his own full-time job as an engineer. I wouldn’t have been able to do what I did for that period of time without his support and encouragement. This time really proved to be a huge stepping stone for 3P Studio.

Do you remember the moment you decided you would start your own business?
There wasn’t really a specific moment where I decided to start my own business. It was something that seemed to just naturally come together. The busier I became, the more opportunities came about, like having enough work through the door to build a space and hire staff. I have always been very strategic in regard to the people that I have brought on at 3P, and the timing in which they have come on board.

Can you walk us through that bear of a process?
At the start of 2016, I made the decision to get out of the house. My work life was starting to blend in with my home life and I needed to have that separation. I worked out of a small office for 12 months, and about six months into that it came to a point where I was able to purchase an office space that would become our studio today.

I went to work planning the fit out for the next six months. The studio was an investment in the business and I needed a place that my clients could also bring their clients for approvals, screenings and collaboration on jobs, as well as just generally enjoying the space.

The office space was an empty white shell, but the beauty of coming into a blank canvas was that I was able to create a studio that was specifically built for post production. I was lucky in that I had worked in some of the best post houses in the country as an editor, and this being a custom build I was able to take all the best bits out of all the places I had previously worked and put them into my studio without the restriction of existing walls.

I built up the walls, ripped down the ceilings and was able to design the edit suites and infrastructure all the way down to designing and laying the cable runs myself that I knew would work for us down the line. Then, we saved money and added more equipment to the studio bit by bit. It wasn’t 0 to 100 overnight, I had to work at the business development side of the company a lot, and I spent a lot of long days sitting by myself in those edit suites doing everything. Soon, word of mouth started to circulate and the business started to grow on the back of some nice jobs from my existing loyal clients.

What type of work do you do, and what gear do you call on?
3P Studio is a boutique post production studio that specializes in full-service post production, we also shoot content when required.

Our clients range anywhere from small content videos for the web all the way up to large commercial campaigns and everything in between.

There are currently six of us working full time in the studio, and we handle everything in-house from offline editing to VFX to videography and sound design. We work primarily in the Adobe Creative suite for offline editing in Premiere, mixed with Maxon Cinema 4D/Autodesk Maya for 3D work, Autodesk Flame and Side Effects Houdini for online compositing and VFX, Blackmagic Resolve for color grading and Pro Tools HD for sound mixing. We use EditShare EFS shared storage nodes for collaborative working and sharing of content between the mix of creative platforms we use.

This year we have invested in a Red Digital Cinema camera as well as an EditShare XStream 200 EFS scale-out single-node server so we can become that one-stop shop for our clients. We have been able to create an amazing creative space for our clients to come and work with us, be it from the bespoke design of our editorial suites or the high level of client service we offer.

How did you build 3P Studios to be different from other studios you’ve worked at?
From a personal perspective, the culture that we have been able to build in the studio is unlike anywhere else I have worked in that we genuinely work as a team and support each other. On the business side, we cater to clients of all sizes and budgets while offering uncompromising services and experience whether they be large or small. Making sure they walk away feeling that they have had great value and exemplary service for their budget means that they will end up being a customer of ours for life. This is the mantra that I have been able to grow the business on.

What is your hiring process like, and how do you protect employees who need to go out on maternity or family leave?
When I interview people to join 3P, attitude and willingness to learn is everything to me — hands down. You can be the most amazing operator on the planet, but if your attitude stinks then I’m really not interested. I’ve been incredibly lucky with the team that I have, and I have met them along the journey at exactly the right times. We have an amazing team culture and as the company grows our success is shared.

I always make it clear that it’s swings and roundabouts and that family is always number one. I am there to support my team if they need me to be, not just inside of work but outside as well and I receive the same support in return. We have flexible working hours, I have team members with young families who, at times, are able to work both in the studio and from home so that they can be there for their kids when they need to be. This flexibility works fine for us. Happy team members make for a happy, productive workplace, and I like to think that 3P is forward thinking in that respect.

Any tips for young women either breaking into the industry or in it that want to start a family but are scared it could cost them their job?
Well, for starters, we have laws in Australia that make it illegal for any woman in this country to be discriminated against for starting a family. 3P also supports the 18 weeks paid maternity leave available to women heading out to start a family. I would love to see more female workers in post production, especially in operator roles. We aren’t just going to be the coffee and tea girls, we are directors, VFX artists, sound designers, editors and cinematographers — the future is female!

Any tips for anyone starting a new business?
Work hard, be nice to people and stay humble because you’re only as good as your last job.

Main Image: Haley Stibbard (second from left) with her team.

Presenting at IBC vs. NAB

By Mike Nuget

I have been lucky enough to attend NAB a few times over the years, both as an onlooker and as a presenter. In 2004, I went to NAB for the first time as an assistant online editor, mainly just tagging along with my boss. It was awesome! It was very overwhelming and, for the most part, completely over my head.  I loved seeing things demonstrated live by industry leaders. I felt I was finally a part of this crazy industry that I was new to. It was sort of a rite of passage.

Twelve years later, Avid asked me to present on the main stage. Knowing that I would be one of the demo artists that other people would sit down and watch — as I had done just 12 years earlier — was beyond anything I thought I would do back when I first started. The demo showed the Avid and FilmLight collaboration between the Media Composer and the Baselight color system. Two of my favorite systems to work on. (Watch Mike’s presentation here.)

Thanks to my friend and now former co-worker Matt Schneider, who also presented alongside of me, I had developed a very good relationship with the Avid developers and some of the people who run the Avid booth at NAB. And at the same time, the Filmlight team was quickly being put on my speed dial and that relationship strengthened as well.

This past NAB, Avid once again asked me to come back and present on the main stage about Avid Symphony Color and FilmLight’s Baselight Editions plug-in for Avid, but this time I would get to represent myself and my new freelance career change — I had just left my job at Technicolor-Postworks in New York a few weeks prior. I thought that since I was now a full-time freelancer this might be the last time I would ever do this kind of thing. That was until this past July, when I got an email from the FilmLight team asking me to present at IBC in Amsterdam. I was ecstatic.

Preparing for IBC was similar enough as far as my demo, but I was definitely more nervous than I was at NAB. I think it was two reasons: First, presenting in front of many different people in an international setting. Even though I am from the melting pot of NYC, it is a different and interesting feeling being surrounded by so many different nationalities all day long, and pretty much being the minority. On a personal note, I loved it. My wife and I love traveling, and to us this was an exciting chance to be around people from other cultures. On a business level, I guess I was a little afraid that my fast-talking New Yorker side would lose some people, and I didn’t want that to happen.

The second thing was that this was the first time that I was presenting strictly for FilmLight and not Avid. I have been an Avid guy for over 15 years. It’s my home, it’s my most comfortable system, and I feel like I know it inside and out. I discovered Baselight in 2012, so to be presenting in front of FilmLight people, who might have been using their systems for much longer, was a little intimidating.

When I walked into the room, they had setup a full-on production, along with spotlights, three cameras, a projector… the nerves rushed once again. The demo was standing room only. Sometimes when you are doing presentations, time seems to fly by, so I am not sure I remember every minute of the 50-minute presentation, but I do remember at one point within the first few minutes my voice actually trembled, which internally I thought was funny, because I do not tend to get nervous. So instead of fighting it, I actually just said out loud “Sorry guys, I’m a little nervous here,” then took a deep breath, gathered myself, and fell right into my routine.

I spent the rest of the day watching the other FilmLight demos and running around the convention again saying hello to some new vendors and goodbye to those I had already seen, as Sunday was my last day at the show.

That night I got to hang out with the entire Filmlight staff for dinner and some drinks. These guys are hilarious, what a great tight-knit family vibe they have. At one point they even started to label each other, the uncle, the crazy brother, the funny cousin. I can’t thank them enough for being so kind and welcoming. I kind of felt like a part of the family for a few days, and it was tremendously enjoyable and appreciated.

Overall, IBC felt similar enough to NAB, but with a nice international twist. I definitely got lost more since the layout is much more confusing than NAB’s. There are 14 halls!

I will say that the “relaxing areas” at IBC are much better than NAB’s! There is a sandy beach to sit on, a beautiful canal to sit by while having a Heineken (of course) and the food trucks were much, much better.

I do hope I get to come back one day!


Mike Nuget (known to most as just “Nuget”) is a NYC-based colorist and finishing editor. He recently decided to branch out on his own and become a freelancer after 13 years with Technicolor-Postworks. He has honed a skill set across multiple platforms, including FilmLight’s Baselight, Blackmagic’s Resolve, Avid and more. 

Behind the Title: Carbon senior colorist Julien Biard

NAME: Julien Biard

COMPANY: Carbon in Chicago

CAN YOU DESCRIBE YOUR COMPANY?
Carbon is a full-service creative studio specializing in design, color, visual effects and motion graphics, with offices in Chicago, Los Angeles and New York.

WHAT’S YOUR JOB TITLE?
Senior Colorist

WHAT DOES THAT ENTAIL?
I’m responsible for grading the work to get the most out of the material. Color has a lot of potential to assist the storytelling in conveying the emotion of a film. I also oversee the running of the Chicago color department.

National Trust

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
Most of the time people are surprised this job actually exists, or they think I’m a hair colorist. After many years this still makes me smile every time!

WHAT’S YOUR FAVORITE PART OF THE JOB?
There are many aspects of the job I enjoy. The main part of the job is the creative side, giving my input and taste to a piece makes the job personally and emotionally involving. I get a lot of satisfaction from this process, working with the team and using color to set the mood and tone of the spot or film.

Finally, by far the best part of the job is to educate and train the next generation of colorists. Having been part of the same process at the beginning of my career, I feel very proud to be able to pass on my knowledge, what I have learned from peers and worked out for myself, and to help as many youngsters to get into color grading as possible.

WHAT’S YOUR LEAST FAVORITE?
I miss 35mm…

WHAT IS YOUR MOST PRODUCTIVE TIME OF THE DAY?
I’m a morning type of guy, so getting on my bike nice and early, taking photographs or getting straight to work. Mornings are always productive for me.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I’d be an art buyer! Realistically, I’d probably be a mountain guide back home in the French Alps where I grew up.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
In all honesty, this was very unexpected as I originally trained to become a professional football player until quite an advanced age — which I’m now glad wasn’t meant to be my path. It was only when I moved to London after graduating that I fell into the post world where I started as a tea boy. I met the colorist there, and within the first day I knew this would be something I’d enjoy doing and could be good at. I trained hard and worked alongside some of the best colorists in the industry, learning from them while finding my own tune and it worked out pretty well.

Ted Baker

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
National Trust
Run the Jewels
Royal Blood
Rapha
Ted Baker

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
There are many projects I’m proud of, and picking only one is probably not possible. I think what I’m the most proud of is the relationship I have built with some of the industry’s most creative talents — people like Crowns and Owls, David Wilson, Thomas Bryant, Andrew Telling and Ninian Doff, to name a few. Also, being able to bring my contribution to the edifice in this stimulating world is what I’m the proudest of.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
My sound system, my camera, a corkscrew and my bike, of course!

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Mainly Instagram; it’s all about the visuals.

DO YOU LISTEN TO MUSIC WHILE YOU WORK? CARE TO SHARE YOUR FAVORITE MUSIC TO WORK TO?
Is there such thing as grading without music?! I need my music when I work. It helps me get in the zone and also helps me with timings. An album is around the hour mark, so I know where I am.

Taste wise? Oh dear, the list could be long. If the beat is good and there are instruments, I’m in. I do struggle with pop music a lot. But I’m open to anything else.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I ride my bike, anywhere I can. I climb. I enjoy photography very much too. Since I’m in a dark room most of the time at work, I spend as much of my spare time outside as possible

Sony Pictures Post adds three theater-style studios

Sony Pictures Post Production Services has added three theater-style studios inside the Stage 6 facility on the Sony Pictures Studios lot in Culver City. All studios feature mid-size theater environments and include digital projectors and projection screens.

Theater 1 is setup for sound design and mixing with two Avid S6 consoles and immersive Dolby Atmos capabilities, while Theater 3 is geared toward sound design with a single S6. Theater 2 is designed for remote visual effects and color grading review, allowing filmmakers to monitor ongoing post work at other sites without leaving the lot. Additionally, centralized reception and client services facilities have been established to better serve studio sound clients.

Mix Stage 6 and Mix Stage 7 within the sound facility have been upgraded, each featuring two S6 mixing consoles, six Pro Tools digital audio workstations, Christie digital cinema projectors, 24 X 13 projection screens and a variety of support gear. The stages will be used to mix features and high-end television projects. The new resources add capacity and versatility to the studio’s sound operations.

Sony Pictures Post Production Services now has 11 traditional mix stages, the largest being the Cary Grant Theater, which seats 344. It also has mix stages dedicated to IMAX and home entertainment formats. The department features four sound design suites, 60 sound editorial rooms, three ADR recording studios and three Foley stages. Its Barbra Streisand Scoring Stage is among the largest in the world and can accommodate a full orchestra and choir.

Colorist Asa Shoul joins Warner Bros. De Lane Lea

Warner Bros. De Lane Lea (WBDLL) has added colorist Asa Shoul to its new picture services department, which will launch this September. Shoul’s recent credits include Mission Impossible: Fallout, Baby Driver, Amazon’s Tin Star and he recently received a BAFTA craft award for his work on the multi award-winning Netflix series The Crown.

Shoul will be joined by his assistant Katie McCulloch, senior post producer Louise Stewart and online editor Gareth Parry, as well as additional industry-leading creative, technical and operations staff, yet to be announced.

The expansion will include the launch of two new 4K HDR grading theaters, in addition to online suites, mastering, content handling services and dark fibre connectivity for both Dolby UK and Leavesden Studios. A full-service production dailies offering based at Warner Bros. Studios Leavesden will also launched to help service the needs of productions.

Recent features at WBDLL include Wonder Woman; Three Billboards Outside Ebbing, Missouri; Fantastic Beasts and Early Man. It also has an impressive roster of high-end television clients including Netflix, Amazon, Starz, BBC and ITV.

Last year the company announced it will cement its future in Soho by moving to a new purpose-built post production facility located in the centre of Soho, which is currently under construction. WBDLL will be the anchor tenant within the Ilona Rose building which is slated to open in 2021.

Review: Blackmagic’s Resolve 15

By David Cox

DaVinci Resolve 15 from Blackmagic Design has now been released. The big news is that Blackmagic’s compositing software Fusion has been incorporated into Resolve, joining the editing and audio mixing capabilities added to color grading in recent years. However, to focus just on this would hide a wide array of updates to Resolve, large and small, across the entire platform. I’ve picked out some of my favorite updates in each area.

For Colorists
Each time Blackmagic adds a new discipline to Resolve, colorists fear that the color features take a back seat. After all, Resolve was a color grading system long before anything else. But I’m happy to say there’s nothing to fear in Version 15, as there are several very nice color tweaks and new features to keep everyone happy.

I particularly like the new “stills store” functionality, which allows the colorist to find and apply a grade from any shot in any timeline in any project. Rather than just having access to manually saved grades in the gallery area, thumbnails of any graded shot can be viewed and copied, no matter which timeline or project they are in, even those not explicitly saved as stills. This is great for multi-version work, which is every project these days.

Grades saved as stills (and LUTS) can also be previewed on the current shot using the “Live Preview” feature. Hovering the mouse cursor over a still and scrubbing left and right will show the current shot with the selected grade temporarily applied. It makes quick work of finding the most appropriate look from an existing library.

Another new feature I like is called “Shared Nodes.” A color grading node can be set as “shared,” which creates a common grading node that can be inserted into multiple shots. Changing one instance, changes all instances of that shared node. This approach is more flexible and visible than using Groups, as the node can be seen in each node layout and can sit at any point in the process flow.

As well as the addition of multiple play-heads, a popular feature in other grading systems, there is a plethora of minor improvements. For example, you can now drag the qualifier graphics to adjust settings, as opposed to just the numeric values below them. There are new features to finesse the mattes generated from the keying functions, as well as improvements to the denoise and face refinement features. Nodes can be selected with a single click instead of a double click. In fact, there are 34 color improvements or new features listed in the release notes.

For Editors
As with color, there are a wide range of minor tweaks all aimed at improving feel and ergonomics, particularly around dynamic trim modes, numeric timecode entry and the like. I really like one of the major new features, which is the ability to open multiple timelines on the screen at the same time. This is perfect for grabbing shots, sequences and settings from other timelines.

As someone who works a lot with VFX projects, I also like the new “Replace Edit” function, which is aimed at those of us that start our timelines with early drafts of VFX and then update them as improved versions come along. The new function allows updated shots to be dragged over their predecessors, replacing them but inheriting all modifications made, such as the color grade.

An additional feature to the existing markers and notes functions is called “Drawn Annotations.” An editor can point out issues in a shot with lines and arrows, then detail them with notes and highlight them with timeline markers. This is great as a “note to self” to fix later, or in collaborative workflows where notes can be left for other editors, colorists or compositors.

Previous versions of Resolve had very basic text titling. Thanks to the incorporation of Fusion, the edit page of Resolve now has a feature called Text+, a significant upgrade on the incumbent offering. It allows more detailed text control, animation, gradient fills, dotted outlines, circular typing and so on. Within Fusion there is a modifier called “Follower,” which enables letter-by-letter animation, allowing Text+ to compete with After Effects for type animation. On my beta test version of Resolve 15, this wasn’t available in the Edit page, which could be down to the beta status or an intent to keep the Text+ controls in the Edit page more streamlined.

For Audio
I’m not an audio guy, so my usefulness in reviewing these parts is distinctly limited. There are 25 listed improvements or new features, according to the release notes. One is the incorporation of Fairlight’s Automated Dialog Replacement processes, which creates a workflow for the replacement of unsalvageable originally recorded dialog.

There are also 13 new built-in audio effects plugins, such as Chorus, Echo and Flanger, as well as de-esser and de-hummer clean-up tools.
Another useful addition both for audio mixers and editors is the ability to import entire audio effects libraries, which can then be searched and star-rated from within the Edit and Fairlight pages.

Now With Added Fusion
So to the headline act — the incorporation of Fusion into Resolve. Fusion is a highly regarded node-based 2D and 3D compositing software package. I reviewed Version 9 in postPerspective last year [https://postperspective.com/review-blackmagics-fusion-9/]. Bringing it into Resolve links it directly to editing, color grading and audio mixing to create arguably the most agile post production suite available.

Combining Resolve and Fusion will create some interesting challenges for Blackmagic, who say that the integration of the two will be ongoing for some time. Their challenge isn’t just linking two software packages, each with their own long heritage, but in making a coherent system that makes sense to all users.

The issue is this: editors and colorists need to work at a fast pace, and want the minimum number of controls clearly presented. A compositor needs infinite flexibility and wants a button and value for every function, with a graph and ideally the ability to drive it with a mathematical expression or script. Creating an interface that suits both is near impossible. Dumbing down a compositing environment limits its ability, whereas complicating an editing or color environment destroys its flow.

Fusion occupies its own “page” within Resolve, alongside pages for “Color,” “Fairlight” (audio) and “Edit.” This is a good solution in so far that each interface can be tuned for its dedicated purpose. The ability to join Fusion also works very well. A user can seamlessly move from Edit to Fusion to Color and back again, without delays, rendering or importing. If a user is familiar with Resolve and Fusion, it works very well indeed. If the user is not accustomed to high-end node-based compositing, then the Fusion page can be daunting.

I think the challenge going forward will be how to make the creative possibilities of Fusion more accessible to colorists and editors without compromising the flexibility a compositor needs. Certainly, there are areas in Fusion that can be made more obvious. As with many mature software packages, Fusion has the occasional hidden right click or alt-click function that is hard for new users to discover. But beyond that, the answer is probably to let a subset of Fusion’s ability creep into the Edit and Color pages, where more common tasks can be accommodated with simplified control sets and interfaces. This is actually already the case with Text+; a Fusion “effect” that is directly accessible within the Edit section.

Another possible area to help is Fusion Macros. This is an inbuilt feature within Fusion that allows a designer to create an effect and then condense it down to a single node, including just the specific controls needed for that combined effect. Currently, Macros that integrate the Text+ effect can be loaded directly in the Edit page’s “Title Templates” section.

I would encourage Blackmagic to open this up further to allow any sort of Macro to be added for video transitions, graphics generators and the like. This could encourage a vibrant exchange of user-created effects, which would arm editors and colorists with a vast array of immediate and community sourced creative options.

Overall, the incorporation of Fusion is a definite success in my view, whether used to empower multi-skilled post creatives or to provide a common environment for specialized creatives to collaborate. The volume of updates and the speed at which the Resolve software developers address the issues exposed during public beta trials, remains nothing short of impressive.


David Cox is a VFX compositor and colorist with 20-plus years of experience. He started his career with MPC and The Mill before forming his own London-based post facility. Cox recently created interactive projects with full body motion sensors and 4D/AR experiences.

Quick Chat: Freefolk colorist Paul Harrison

By Randi Altman

Freefolk, which opened in New York City in October 2017, was founded in London in 2003 by Flame artist Jason Watts and VFX artist Justine White. Originally called Finish, they rebranded to Freefolk with the opening of their NYC operation. Freefolk is an independent post house that offers high-end visual effects, color grading and CG for commercials, film and TV.

We reached out to global head of color grading Paul Harrison to find out his path to color and the way he likes to work.

What are your favorite types of jobs to work on and why?
I like to work on a mix of projects and not be pigeonholed as a particular type of colorist. Commercials are my main work, but I also work on music videos and the odd feature or longform piece. Each form has its own creative challenges, and I enjoy all disciplines.

What is your tool of choice, and why?
I use the FilmLight Baselight color system because it’s extremely versatile and will cope with any file format one cares to mention. On so many levels it allows a colorist to get on with the job at hand and not be bogged down by the kit’s limitations. The toolset is extensive and it doesn’t put boundaries in the way of creativity, like other systems I’ve used.

Are you often asked to do more than just color?
These days, because of the power of the systems we use, the lines are blurring between color and VFX. On most jobs I do things that used to be the realm of the VFX room. Things like softening skin tones, putting in skies or restoring elements of the image that need to be treated differently from the rest of the image.

Traditionally, this was done in the VFX room, now we do it as part of the grade. When there’s more difficult or time-consuming fixes required, the VFX artists will do that work.

How did you become a colorist? What led you down this path?
I started as a runner at the Mill in London. I had always had a keen interest in photography/art and film so this was the natural place for me to go. I was captivated by the mystery of the telecine suite; they looked hideously complex to operate. It was a mix of mechanical machinery, computers, film and various mixers and oscilloscopes, and it spoke to my technical, “How does this work” side of my brain, and the creative, photography/art side too.

Making all the various bits of equipment that comprised a suite then work together and talk to each other was a feat in itself.

Do you have a background in photography or fine art?
I’ve been a keen photographer for years, both on land and underwater. I’ve not done it professionally; it’s just grown through the influence of my work and interests.

In addition to your photography, where do you find inspiration? Museums? Films? A long walk?
I find inspiration from lots of different places — from hiking up mountains to diving in the oceans observing and photographing the creatures that live there. Or going for a walk in all weathers, and at all times of the year.

Art and photography are passions of mine, and seeing the world through the eyes of a talented photographer or artist, absorbing those influences, makes me constantly reassess my own work and what I’m doing in the color room. Colorists sometimes talk about learning to “see.” I think we take notice of things that others pass by. We notice what the “light” is doing and how it changes our environment.

If you had three things to share with a client before a project begins, what would that be?
Before a project begins? That’s a tough question. All I could share would be my vision of the look of the film, any reference that I had to show to illustrate my ideas. Maybe talking about any new or interesting cameras or lenses I’ve seen lately.

How do you prefer getting direction? Photos? Examples from films/TV?
Photos are always good at getting the message across. They describe a scene in a way words can’t. I’m a visual person, so that’s the preferred way for me. Also, a conversation imparts a feeling for the film, obviously that is more open to interpretation.

Do you often work directly with the DP?
DPs seem to be a rarer sight these days. It’s great when one has a good relationship with a DP and there’s that mutual trust in each other.

Is there a part of your job that people might not realize you do? Something extra and special that is sort of below the line?
Yes. Fixing things that no one knows are broken, whether it’s sorting out dodgy exposures/camera faults or fixing technical problems with the material. Colorists and their assistants make the job run smoothly and quietly in the background, outside of the color room.

What project are you most proud of?
Certain jobs stand out to me for different reasons. I still love the look of 35mm, and those jobs will always be favorites. But I guess it’s the jobs that I’ve had the complete creative freedom on like the Stella, Levi’s and Guinness commercials, or some of the music videos like Miike Snow. To be honest I don’t really have a top project.

Can you name some projects that you’ve worked on recently?
Since moving over to NYC recently, I’ve worked on some projects that I knew of before, and some I had no idea existed. Like a Swiffer — I had no idea what that was before working in NYC. But I’ve also graded projects for Cadillac, Bud Light, New York Yankees, Lays, State Farm and Macy’s, to name a few.