Tag Archives: Colorworks

Sony Pictures Post, Imageworks, Colorworks lend hand for ‘Spider-Man 2’

The visual effects, sound and post teams from Sony Pictures Entertainment teamed up on the post production workflow for Columbia Pictures’ The Amazing Spider-Man 2.

Sony Pictures Imageworks provided over 1,000 visual effects shots, Sony Pictures Post Production provided sound, in its first project in Dolby Atmos, and Colorworks performed film scanning, conforming and color grading all in 4K. An innovative workflow provided the teams with unprecedented access to data associated with the production, enabling them to work together in close and simultaneous collaboration. The result was improved efficiency and a more spectacular cinematic experience for audiences around the world.

“Our groups have developed a close, creative partnership, aided by remarkable new technologies that allowed them to work across disciplines as one team,” said Randy Lake, EVP/GM, Digital Production Services. “The results are clearly evident in The Amazing Spider-Man 2,  which established new standards for technical innovation.”

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Working with senior visual effects supervisor Jerome Chen, Sony Pictures Imageworks created a variety of visual effects that blend seamlessly with live-action stunts and performances. Artists created three new villains — Electro, Rhino and Goblin — and developed fully-digital CG environments representing New York’s Times Square, Manhattan skyscrapers, a next generation hydroelectric plant and an art deco-era clock tower among many other one-off effects seen throughout the film.

The film’s sound team was led by sound supervisors/designers Addison Teague and Eric Norris, and re-recording mixers Paul Massey and David Giammarco. Working in the newly-renovated William Holden Theater on the Sony Pictures Entertainment lot, Massey and Giammarco mixed the soundtrack natively in Dolby Atmos and finished in Atmos, Auro and 5.1 formats, a combination that has never been done before. They used a Harrison MPC4D console with Xrange engine.

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At Colorworks, film dailies — amounting to more than 1.5 million feet of 35mm film — were scanned to 4K digital format prior to editorial. The film later returned to Colorworks for conforming, final color grading (in 4K) and mastering in 2D and stereo 3D.

Collaboration between the teams was facilitated by Sony Pictures Entertainment’s Production Backbone, the studio’s shared storage environment. Original production elements, along with associated metadata — cumulatively amounting to more than 2.4 Petabytes — were stored on the backbone’s shared-storage environment where it was accessible to sound and picture editors, visual effects artists and others, as needed and in appropriate file formats. The backbone also simplified delivery of elements to external visual effects vendors, who were able to access the backbone through secure, high-speed connections.

“Scanning all of the original film elements at 4K allowed us to work at the highest quality and implement a true digital workflow to the production,” explained Bill Baggelaar, Senior VP of Technology for Colorworks and Post Production. “That saved significant time. The backbone not only provided access to data, it also tracked progress. If an editor or a visual effects artist made a change, it was quickly available to all the other members of the team, increasingly important for quick turn around on a dynamic film like The Amazing Spider-Man 2.”

Capra’s classic ‘It Happened One Night’ restored in 4K

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CULVER CITY— Frank Capra’s 1934 comedy It Happened One Night has undergone painstaking 4K restoration by Sony Pictures Entertainment in advance of its release on Sony’s newly-launched Video Unlimited 4K download service. It Happened One Night, which starred Clark Gable and Claudette Colbert, is the first of five Capra films slated for re-release in 4K over the next few years. Those are Mr. Deeds Goes to Town, Lost Horizon, Mr. Smith Goes to Washington, and You Can’t Take it With You.

The original 35mm negative that served as the basis for the restoration was in poor condition. Rita Belda, Sony Pictures Entertainment’s executive director of asset management, digital mastering and film restoration notes that in the 1930s it was common practice to use original negative to produce film prints for distribution. As a result, the negative suffered from damage due to overuse. Furthermore, a number of damaged scenes had been replaced by poor quality duplicate elements.

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