Tag Archives: Harbor Picture Company

Harbor crafts color and sound for The Lighthouse

By Jennifer Walden

Director Robert Eggers’ The Lighthouse tells the tale of two lighthouse keepers, Thomas Wake (Willem Dafoe) and Ephraim Winslow (Robert Pattinson), who lose their minds while isolated on a small rocky island, battered by storms, plagued by seagulls and haunted by supernatural forces/delusion-inducing conditions. It’s an A24 film that hit theaters in late October.

Much like his first feature-length film The Witch (winner of the 2015 Sundance Film Festival Directing Award for a dramatic film and the 2017 Independent Spirit Award for Best First Feature), The Lighthouse is a tense and haunting slow descent into madness.

But “unlike most films where the crazy ramps up, reaching a fever pitch and then subsiding or resolving, in The Lighthouse the crazy ramps up to a fever pitch and then stays there for the next hour,” explains Emmy-winning supervising sound editor/re-recording mixer Damian Volpe. “It’s like you’re stuck with them, they’re stuck with each other and we’re all stuck on this rock in the middle of the ocean with no escape.”

Volpe, who’s worked with director Eggers on two short films — The Tell-Tale Heart and Brothers — thought he had a good idea of just how intense the film and post sound process would be going into The Lighthouse, but it ended up exceeding his expectations. “It was definitely the most difficult job I’ve done in over two decades of working in post sound for sure. It was really intense and amazing,” he says.

Eggers chose Harbor’s New York City location for both sound and final color. This was colorist Joe Gawler’s first time working with Eggers, but it couldn’t have been a more fitting film. The Lighthouse was shot on 35mm black & white (Double-X 5222) film with a 1.19:1 aspect ratio, and as it happens Gawler is well versed in the world of black & white. He’s remastered a tremendous amount of classic movie titles for The Criterion Collection, such as Breathless, Seventh Samurai and several Fellini films like 8 ½. “To take that experience from my Criterion title work and apply that to giving authenticity to a contemporary film that feels really old, I think it was really helpful,” Gawler says.

Joe Gawler

The advantage of shooting on film versus shooting digitally is that film negatives can be rescanned as technology advances, making it possible to take a film from the ‘60s and remaster it into 4K resolution. “When you shoot something digitally, you’re stuck in the state-of-the-moment technology. If you were shooting digitally 10 years ago and want to create a new deliverable of your film and reimagine it with today’s display technologies, you are compromised in some ways. You’re having to up-res that material. But if you take a 35mm film negative shot 100 years ago, the resolution is still inside that negative. You can rescan it with a new scanner and it’s going to look amazing,” explains Gawler.

While most of The Lighthouse was shot on black & white film (with Baltar lenses designed in the 1930s for that extra dose of authenticity), there were a few stock footage shots of the ocean with big storm waves and some digitally rendered elements, such as the smoke, that had to be color corrected and processed to match the rich, grainy quality of the film. “Those stock footage shots we had to beat up to make them feel more aged. We added a whole bunch of grain into those and the digital elements so they felt seamless with the rest of the film,” says Gawler.

The digitally rendered elements were separate VFX pieces composited into the black & white film image using Blackmagic’s DaVinci Resolve. “Conforming the movie in Resolve gave us the flexibility to have multiple layers and allowed us to punch through one layer to see more or less of another layer,” says Gawler. For example, to get just that right amount of smoke, “we layered the VFX smoke element on top of the smokestack in the film and reduced the opacity of the VFX layer until we found the level that Rob and DP Jarin Blaschke were happy with.”

In terms of color, Gawler notes The Lighthouse was all about exposure and contrast. The spectrum of gray rarely goes to true white and the blacks are as inky as they can be. “Jarin didn’t want to maintain texture in the blackest areas, so we really crushed those blacks down. We took a look at the scopes and made sure we were bottoming out so that the blacks were pure black.”

From production to post, Eggers’ goal was to create a film that felt like it could have been pulled from a 1930’s film archive. “It feels authentically antique, and that goes for the performances, the production design and all the period-specific elements — the lights they used and the camera, and all the great care we took in our digital finish of the film to make it feel as photochemical as possible,” says Gawler.

The Sound
This holds true for post sound, too. So much so that Eggers and Volpe kicked around the idea of making the soundtrack mono. “When I heard the first piece of score from composer Mark Korven, the whole mono idea went out the door,” explains Volpe. “His score was so wide and so rich in terms of tonality that we never would’ve been able to make this difficult dialogue work if we had to shove it all down one speaker’s mouth.”

The dialogue was difficult on many levels. First, Volpe describes the language as “old-timey, maritime” delivered in two different accents — Dafoe has an Irish-tinged seasoned sailor accent and Pattinson has an up-east Maine accent. Additionally, the production location made it difficult to record the dialogue, with wind, rain and dripping water sullying the tracks. Re-recording mixer Rob Fernandez, who handled the dialogue and music, notes that when it’s raining the lighthouse is leaking. You see the water in the shots because they shot it that way. “So the water sound is married to the dialogue. We wanted to have control over the water so the dialogue had to be looped. Rob wanted to save as much of the amazing on-set performances as possible, so we tried to go to ADR for specific syllables and words,” says Fernandez.

Rob Fernandez

That wasn’t easy to do, especially toward the end of the film during Dafoe’s monologue. “That was very challenging because at one point all of the water and surrounding sounds disappear. It’s just his voice,” says Fernandez. “We had to do a very slow transition into that so the audience doesn’t notice. It’s really focusing you in on what he is saying. Then you’re snapped out of it and back into reality with full surround.”

Another challenging dialogue moment was a scene in which Pattinson is leaning on Dafoe’s lap, and their mics are picking up each other’s lines. Plus, there’s water dripping. Again, Eggers wanted to use as much production as possible so Fernandez tried a combination of dialogue tools to help achieve a seamless match between production and ADR. “I used a lot of Synchro Arts’ Revoice Pro to help with pitch matching and rhythm matching. I also used every tool iZotope offers that I had at my disposal. For EQ, I like FabFilter. Then I used reverb to make the locations work together,” he says.

Volpe reveals, “Production sound mixer Alexander Rosborough did a wonderful job, but the extraneous noises required us to replace at least 60% of the dialogue. We spent several months on ADR. Luckily, we had two extremely talented and willing actors. We had an extremely talented mixer, Rob Fernandez. My dialogue editor William Sweeney was amazing too. Between the directing, the acting, the editing and the mixing they managed to get it done. I don’t think you can ever tell that so much of the dialogue has been replaced.”

The third main character in the film is the lighthouse itself, which lives and breathes with a heartbeat and lungs. The mechanism of the Fresnel lens at the top of the lighthouse has a deep, bassy gear-like heartbeat and rasping lungs that Volpe created from wrought iron bars drawn together. Then he added reverb to make the metal sound breathier. In the bowels of the lighthouse there is a steam engine that drives the gears to turn the light. Ephraim (Pattinson) is always looking up toward Thomas (Dafoe), who is in the mysterious room at the top of the lighthouse. “A lot of the scenes revolve around clockwork, which is just another rhythmic element. So Ephraim starts to hear that and also the sound of the light that composer Korven created, this singing glass sound. It goes over and over and drives him insane,” Volpe explains.

Damian Volpe

Mermaids make a brief appearance in the film. To create their vocals, Volpe and his wife did a recording session in which they made strange sea creature call-and-response sounds to each other. “I took those recordings and beat them up in Pro Tools until I got what I wanted. It was quite a challenge and I had to throw everything I had at it. This was more of a hammer-and-saw job than a fancy plug-in job,” Volpe says.

He captured other recordings too, like the sound of footsteps on the stairs inside a lighthouse on Cape Cod, marine steam engines at an industrial steam museum in northern Connecticut and more at the Mystic Sea Port… seagulls and waves. “We recorded so much. We dug a grave. We found an 80-year-old lobster pot that we smashed about. I recorded the inside of conch shells to get drones. Eighty percent of the sound in the film is material that I and Filipe Messeder (assistant and Foley editor) recorded, or that I recorded with my wife,” says Volpe.

But one of the trickiest sounds to create was a foghorn that Eggers originally liked from a lighthouse in Wales. Volpe tracked down the keeper there but the foghorn was no longer operational. He then managed to locate a functioning steam-powered diaphone foghorn in Shetland, Scotland. He contacted the lighthouse keeper Brian Hecker and arranged for a local documentarian to capture it. “The sound of the Sumburgh Lighthouse is a major element in the film. I did a fair amount of additional work on the recordings to make them sound more like the original one Rob [Eggers] liked, because the Sumburgh foghorn had a much deeper, bassier, whale-like quality.”

The final voice in The Lighthouse’s soundtrack is composer Korven’s score. Since Volpe wanted to blur the line between sound design and score, he created sounds that would complement Korven’s. Volpe says, “Mark Korven has these really great sounds that he generated with a ball on a cymbal. It created this weird, moaning whale sound. Then I created these metal creaky whale sounds and those two things sing to each other.”

In terms of the mix, nearly all the dialogue plays from the center channel, helping it stick to the characters within the small frame of this antiquated aspect ratio. The Foley, too, comes from the center and isn’t panned. “I’ve had some people ask me (bizarrely) why I decided to do the sound in mono. There might be a psychological factor at work where you’re looking at this little black & white square and somehow the sound glues itself to that square and gives you this idea that it’s vintage or that it’s been processed or is narrower than it actually is.

“As a matter of fact, this mix is the farthest thing from mono. The sound design, effects, atmospheres and music are all very wide — more so than I would do in a regular film as I tend to be a bit conservative with panning. But on this film, we really went for it. It was certainly an experimental film, and we embraced that,” says Volpe.

The idea of having the sonic equivalent of this 1930’s film style persisted. Since mono wasn’t feasible, other avenues were explored. Volpe suggested recording the production dialogue onto a NAGRA to “get some of that analog goodness, but it just turned out to be one thing too many for them in the midst of all the chaos of shooting on Cape Forchu in Nova Scotia,” says Volpe. “We did try tape emulator software, but that didn’t yield interesting results. We played around with the idea of laying it off to a 24-track or shooting in optical. But in the end, those all seemed like they’d be expensive and we’d have no control whatsoever. We might not even like what we got. We were struggling to come up with a solution.”

Then a suggestion from Harbor’s Joel Scheuneman (who’s experienced in the world of music recording/producing) saved the day. He recommended the outboard Rupert Neve Designs 542 Tape Emulator.

The Mix
The film was final mixed in 5.1 surround on a Euphonix S5 console. Each channel was sent through an RND 542 module and then into the speakers. The units’ magnetic heads added saturation, grain and a bit of distortion to the tracks. “That is how we mixed the film. We had all of these imperfections in the track that we had to account for while we were mixing,” explains Fernandez.

“You couldn’t really ride it or automate it in any way; you had to find the setting that seemed good and then just let it rip. That meant in some places it wasn’t hitting as hard as we’d like and in other places it was hitting harder than we wanted. But it’s all part of Rob Eggers’s style of filmmaking — leaving room for discovery in the process,” adds Volpe.

“There’s a bit of chaos factor because you don’t know what you’re going to get. Rob is great about being specific but also embracing the unknown or the unexpected,” he concludes.


Jennifer Walden is a New Jersey-based audio engineer and writer. Follow her on Twitter @audiojeney.

Harbor adds talent to its London, LA studios

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

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

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

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

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

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

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

Harbor expands to LA and London, grows in NY

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

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

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

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

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

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

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

Sundance 2019: Creating sound for The Sound of Silence

By Jennifer Walden

Research has proven that music can stimulate emotions. Different notes together creating a major chord can promote happiness, for example. Those notes resonate at particular frequencies that are pleasing to the ear. If you consider that every sound resonates at some frequency, then perhaps different sound sources in an environment — like a refrigerator hum and radiator hiss — could be creating chords, and maybe those chords aren’t so pleasing.

Then the environment could cause the people in it to be depressed or anxious. Is there a way to alter a discordant toaster buzz, so that it resonates in harmony with the other environmental sounds?

Director Michael Tyburski explores this concept in his film The Sound of Silence, which premiered in the US Dramatic Competition at the 2019 Sundance Film Festival. Protagonist Peter Lucian (Peter Sarsgaard) is a “house tuner,” who tweaks the sounds in his clients’ spaces in order to alter their negative moods.

Harbor’s Ian Gaffney-Rosenfeld

Supervising sound editors/sound designers/re-recording mixers Grant Elder and Ian Gaffney-Rosenfeld of Harbor Picture Company in New York City helped director Tyburski translate this story idea into a sound idea by playing Peter’s sonic experience for the audience. “If Peter says the toaster was making a certain note and the refrigerator is making a different note, we actually tuned our sound effects to those notes to keep true to the situation that Peter is describing,” says Gaffney-Rosenfeld.

The film opens with Peter in a client’s apartment. The client is skeptical about Peter’s “house tuning” theory and so the audience only subtly hears the problem that Peter hears — that the radiator is resonating in a B-flat. But as Peter gets closer to the radiator, and the camera gets closer to Peter, the radiator sound becomes more apparent in the mix. The audience hears what Peter hears, an experience Elder and Gaffney-Rosenfeld call “Peter vision.”

Other times, the audience is meant to question Peter’s theory, so the sound is played straight. “We had fun with toeing the line of ‘are we inside of Peter’s head?’ Is this real? Or, is he crazy?” says Elder. “But it’s definitely clear when we’re in ‘Peter vision’ and when we’re not.”

Foley
The Foley team at Alchemy Post Sound supplied Elder and Gaffney-Rosenfeld with close-up recordings of appliances, which they then pitched via Serato’s Pitch n’ Time Pro to match the specified tones. “We cut this movie with tuners in hand, so that we knew we were in key with the chord or achieving the note that the script actually called for,” says Elder.

Harbor’s Grant Elder

The Foley team also created effects for the tools that Peter uses to adjust the sound of different objects. For instance, Peter wraps a foil-like material around the radiator to change its resonance from a B-flat to a C. “As he’s wrapping the foil, we are continuously bending the pitch to get to the note that Peter wanted. For this, I used Pitch n’ Time Pro in a variable setting. The sound effects were rendered out but I had timed it appropriately to make it go up in pitch to match the action and have it end with a specific note.”

In one scene, Peter visits a client’s busy office, replete with phones ringing, printers printing, faxes coming in and lots of people talking. For this scene, Gaffney-Rosenfeld and Elder wanted Peter’s experience to increase from unpleasant to overwhelming. They consulted withPoppy Crum, chief scientist at Dolby Laboratories, to find out what happens when a person experiences tinnitus or a painful overload of sound.

“She informed us that the person will lose all the low-end and what he or she is hearing will turn into this high-pitched, tinny, high-endy sound,” says Gaffney-Rosenfeld. “So as we were creating that scene of Peter getting overwhelmed by the office sounds, we were gradually removing all of the low-end using a filter sweep in Avid’s Channel Strip. At the same time, we were gradually pitching up all of the effects to a higher frequency, to the point where it’s uncomfortable. What you’re left with is a vacuum with just this harsh, tinny sound remaining.”

Peter is eventually pulled out of the experience by the voice of the client who he’s there to visit. Though Peter is able to tune out the office sounds, he’s left with a “ringing, high-pitched sound that drives him a little nuts. You see that throughout the course of the story and how that affects him as a character,” explains Gaffney-Rosenfeld.

Harbor’s Grand Stage

Dolby Fellowship & Dolby Atmos
Thanks to the SFFILM Dolby Fellowship, Tyburski and producer/co-writer Ben Nabors were able to collaborate with Elder and Gaffney-Rosenfeld prior to production. That’s a luxury for independent filmmakers, but for a film that uses sound as a story point specifically, it was a vital opportunity. One of Dolby’s goals for the fellowship is “to incorporate the sound process into a film’s creative development,” says Nabors. “The chance for us to connect and exchange ideas before the film was shot was special for us.”

The Fellowship also allowed The Sound of Silence to be mixed in Dolby Atmos at Harbor Picture Company’s Harbor Grand studio, which houses a Euphonix System 5 console and is equipped to mix multiple formats, including Dolby Atmos, IMAX, 7.1 and 5.1 surround.

“The Sound of Silence is really about our main character’s struggles and his view of the world, and the Atmos format provided us with this unlimited palette of ways to help the audience experience that,” explains Gaffney-Rosenfeld.

The Atmos surround field was especially beneficial on a scene in which Peter is visiting a construction site as a consultant for the architecture for a building in Manhattan. As he’s gazing at the cityscape through the window, the audience hears an orchestra of city sounds that Elder and Gaffney-Rosenfeld designed from effects like a horse and buggy going by, car horns honking, people yelling out on the street and birds flapping around. Through a collaboration with the film’s music department, they’re able to morph the effects into the sound of orchestral instruments tuning up before a performance.

During the mix, they “freeform with the Dolby Atmos panners and move those sounds in a circular motion all around the room. It showed that we aren’t in reality, but in Peter’s experience,” says Gaffney-Rosenfeld. “That was a moment conceived by the director that perfectly painted the way that Peter hears tangible sounds out in the world and experiences them as musical elements. That was a moment where Atmos gave us the flexibility to take what would have been a two-dimensional sound and gave us unlimited space to add depth and movement.”

Director Michael Tyburski

Another Atmos highlight includes a scene in which Peter goes to Central Park and uses a tuning fork to tune himself to the location, which happens to be a G-major chord. “Using a combination of the tuning fork sounds, our custom sound design and some elements from the composer, we were able to create in Atmos a moving sound that helps the viewer to get sucked into Peter’s head and to experience what he is in that moment,” says Elder.

Using the tuning forks is something that Peter does throughout the film, so having those tuning fork sounds was essential. “Michael Tyburski, the director, helped us get all the props from set that we wanted to record specifically in Foley. He even helped us with the tuning forks, to make the exact chords that are being described in the film and we recorded those in our studio here at Harbor,” says Gaffney-Rosenfeld. “That willing and highly collaborative relationship that we had with Michael really makes this soundtrack that much more authentic and interesting.”

Elder adds, “The whole team on the film really lent themselves to us. The production sound team did an excellent job. Also the picture editor Matthew Hart took a lot of time with Michael to try out some sound design. Ian and I had the chance to jump in early also and create sounds for the picture editor to cut into scenes. It was an amazing collaborative effort.”


Jennifer Walden is a New Jersey-based audio engineer and writer. You can follow her on Twitter @audiojeney.

Color for Feature Films

By Karen Maierhofer

Just as with episodic series, making the right color choices can greatly impact a film and its storytelling. While the look and mood of a project is set by the director and DP, colorists face creative decisions while delivering those desired results, even when nature or other factors prevent it from being captured on set.

As a result of their work, colorists help set the atmosphere, tone, emotion and depth of a project. They help guide storylines and audiences’ reactions to what is playing out on screen. They can make us happy, sad, scared or thrilled. And, they can make us fall in love, or out of love, with a character.

Here we look at three tent-pole films and their color process.

Deadpool 2
Like the original film, Deadpool 2 is colorful, especially when it comes to the overall tone of the character and action. However, that was the focus of the writers. Deluxe’s Efilm colorist, Skip Kimball, was concerned with the visual look of the movie, one that delivered a filmic style for the over-the-top destruction and gore playing out on the screen.

Amid the movie’s chaos, Kimball used understated saturation and limited contrast, with minimal stylization to preserve the on-set lighting choices of DP Jonathan Sela.

Skip Kimball

The working relationship between Kimball and Sela dates back nearly 15 years and spans several projects, including The Omen, Die Hard 5 and Max Payne, resulting in an informal shorthand of sorts between the two that enables them to dial in looks quickly. “Jonathan’s work is consistently great, and that makes my job easier. I simply help his on-set choices shine further,” says Kimball.

Despite the popularity of the original Deadpool, which Kimball did not work on, there was no directive to use that film as a guide for the sequel. Kimball attacked Deadpool 2 using Blackmagic Resolve, working with the raw camera footage whenever possible, as long as it was not a visual effects shot. “I get what the DP had exposed onto my screen, and then the DP and director come in and we discuss the look and feel of their project. Then I just kind of make things happen on the screen,” Kimball says, noting he prefers to work alongside the DP and director in the same room, as he can pick up on certain body language, “so I am making a change before they ask for it.”

At times, the DP and director will provide stills of examples they have in mind for certain shots, although mostly Kimball gets his direction from discussions they have. And that is exactly how they proceeded with Deadpool 2 — through discussions with the DP mostly. “It was kind of desaturated and low contrast in spots, while other shots had a lot more chroma in them, depending on the scene,” says Kimball.

One sequence Kimball particularly likes in the film is the prison scene with Deadpool and the young mutant Firefist. “It’s just a different look, with lots of cyans and greens. It’s not a typical look,” he says. “We were trying to make it feel uncomfortable, not a pleasant place to be.”

According to Kimball, the biggest challenge he faced on Deadpool 2 was managing all the VFX drop-ins. This required him to start with plates in his timeline, then update it accordingly as VFX shots were delivered from multiple vendors. In some instances, Kimball blended multiple versions of the effects to achieve director David Leitch’s vision. “There were a lot of VFX houses working on various shots, and part of my job is to help get them all to flow and look [unified],” he adds.

One of those VFX vendors was Efilm’s sister company, Method Studios, which provided approximately 300 VFX shots. As Kimball points out, it is more convenient when the VFX are done in-house with the coloring. “You can walk down the hall and bring [the VFX team] in to show them what you’re doing with their shots,” he says. “When it’s done out of house and you want to grade something a certain way and have to push it so far to where it breaks the visual effect, then you have to get them on the phone and ask them come in or send them examples of where the scene is going.”

In addition to Deadpool 2’s overall cinematic style, the film contains unique flashback and afterlife sequences that are differentiated from the main action through varied light and color. A lot of the afterlife glow was accomplished on set through in-camera filters and angled light rays, though Kimball augmented that further through additional glow, warm sepia tones and light VFX within Resolve.

“They wanted it to stand out and the audience to recognize immediately that it is a flashback,” he explains. “It was fun to create because that was all done in Resolve, with color correction and power windows, along with the OpenFX plug-ins.” Kimball explains he blurred unimportant scene elements and used a tilt lens effect. “For color, they went with a desaturated cyan feel and warmth in the highlights to create a dreamy quality that’s also a bit spooky,” he adds.

This film required many output formats — UHD, HD, HDR10 and IMAX. In addition, Kimball color graded all the promotional trailers, home entertainment release, and the related music video for Celine Dion’s Ashes.

When asked what sets this project apart from many of the others he has done, Kimball pondered the answer before responding, “It’s hard to say because it is all instinctual to me.”

Fans have many favorite scenes in the film, but for Kimball, it’s not so much about the individual sequences that make the movie memorable, but rather it’s about bringing it all together and making everything flow. He adds, “Executing the vision of the director, you know.”

Black Panther
One of the hottest movies of the year so far is Marvel’s Black Panther, a film about a prince who, after the death of his father, returns home to the African nation of Wakanda to take his rightful place as king. His path isn’t easy, though, and he must fight for the right to lead his people. Technicolor colorist Maxine Gervais was charged with creating a distinctive look as the movie jumped from conventional cities to the isolated, yet technologically advanced, nation of Wakanda. To handle the huge workload, her team called on a network of six or more FilmLight Baselight color grading workstations, operating simultaneously.

Maxine Gervais

“We knew that this was a fantasy movie with big themes and a strong story,” says Gervais, adding that since the film wasn’t an established franchise but a completely new departure, it gave the team more creative freedom. On most Marvel movies you have a sequel to match. Characters’ wardrobes, skin colors, sets, but on Black Panther everything was new so we didn’t have to match a particular aesthetic. We were creating a new world. The only scene where we needed to somewhat match in tones was to Captain America: Civil War, a flashback of Black Panther’s father’s death. Everything else was literally a ‘blank’ canvas in some ways — rich warm tones, colorful, darker filmic scenes.”

Gervais worked very closely with Oscar-nominated cinematographer Rachel Morrison, ASC, (Mudbound) to create colors that would follow the film’s story. “We wanted the film and photography to feel real, unlike most superhero movies,” explains Morrison. “Our aim was to highlight the beauty of Africa. And like all of our work, we were hoping for a subjectivity and clear point of view.”

Black Panther has very distinct settings and looks,” added Gervais. “Wakanda is this magical, futuristic African nation, with a lush colorful world the audience has never experienced. Then you have the darker reality of cityscapes in Oakland, plus the lab scenes, which have a more sterile look with cooler colors and tones.”

According to Gervais, for her, the most demanding part of the grade was the jungle scenes. “It was shot at night, so to keep all the detail we needed to see, and to make it feel organic, I ended up grading in multiple levels.” Cinematographer Morrison agrees: “The jungle scene was the biggest challenge. It was shot interior on a sound stage and had a bit of a ‘set’ feel to it. We knocked everything down and then really worked to amplify the contrast in the background.”

“We were both looking for a high sensitivity for contrast, deep blacks and shadows and a strong, rich image. I think we achieved that very well,” says Gervais. “The way we did this was almost in reverse engineering. We isolated a different part of the image to bring it up or down add contrast or remove it. You don’t want the cars to be shiny; you want minimum light reflection on cars, but you do want a bit of moonlight hitting foliage, etc. You want to see faces but everything should still be very dark as it is deep in a forest. We took down strong highlights but we also added highlights where they were mostly absent. I followed Rachel’s directions on this and worked it until she was happy with it.”

Looking back on how it started, Gervais says, “We first looked at an Avid output of the movie with Ryan (Coogler), Rachel and executives. Some of the VFX had a CDL applied from Ryan’s notes. As the movie played we could all call out comments, ideas. I wrote down everything to have a general feel for what was being said, and for my first pass Rachel gave me some notes about specific scenes where she was after a rich contrast look. This was very much a team effort. Before any supervised session with director, DP and executives, I would sit with 3D supervisor Evan Jacobs and VFX supervisor Geoffrey Baumann and review my first pass with notes that were taken from session to session. This way, we could make sure we were all going down the right path. Ryan and Rachel are wonderful to work with. They are both passionate and have a strong vision of what they want. I really enjoyed working with them — we were all new to the Marvel world.”

When it came to deliverables, multiple variations were required: 2D and 3D, laser projector as well as standard digital cinema. It is also available in IMAX, and of course there are multiple home video versions as well. “To complete all the work within the tight deadline, we extended the team for the first time in my career,” explains Gervais. “My assistant colorist Jeff Pantaleo and I went on to rotoscoping a lot of the shots and tried to avoid using too many mattes so it would simplify other deliveries like 3D. Then we had a team dedicated to offset all the shapes for 3D. Thankfully, Baselight 5.0 includes tools to speed up the way shapes are translated, so this helped a great deal. We ended up with a huge number of layers and shapes.

Creating the futuristic scenes and superhero action inevitably meant that the movie was highly reliant on VFX, featuring 2,500 shots within 134 minutes. Ensuring that the large team could keep track of VFX required extensions to Baselight’s Categories function, which made it immediately obvious which shots were temporary and which were final on the client monitor. This proved essential to keeping the project on track.

Overall, Gervais loved her first Marvel movie, and all the challenges it brought. “It was an amazing experience to work with all these talented people,” she says. “On Black Panther, I used way more composite grading than I have ever done before, blending many layers. I had to push the technology and push myself to find ways to make it work. And I think it turned out pretty good.”

Gervais has also employed Baselight on some upcoming titles, including Albert Hughes’ Alpha and director Robert Zemeckis’ Welcome to Marwen.

Solo: A Star Wars Story
One of the most revered movie series in history is Star Wars. Fans are not simply fans, they are superfans who hold dearly all tenets associated with the franchise — from the details of the ships to the glow of the lasers to the nuances of the characters and more. So, when color grading a film in the Star Wars universe, the colorist has to appease not only the DP and director, but also has to be cognizant of the galaxy of fans with their ultra-critical eye.

Joe Gawler

Such was the pressure facing Joe Gawler when color grading the recent Solo: A Star Wars Story, one of the two stand-alone Star Wars features. Directed by Ron Howard, with cinematography by Bradford Young, Solo follows the antics of young Han Solo and his gang of smugglers as they plan to steal coaxium from the planet Kessel.

While on the project, Gawler was immersed in the lore of Star Wars from many fronts, including working out of the famed Skywalker Ranch. “The whole creative team was at the Ranch for four weeks to get the color done,” he says, attributing the film’s large amount of visual effects for the extended timeframe. “As the new shots were rolling in from ILM, we would add them into the timeline and continue color grading.”

Harbor Picture Company’s Gawler, who usually works out of the studio’s New York office, stepped into this production during its early stages, visiting the London set where he, along with Young, helped finalize the aesthetic and look for the show’s look-up table, through which the movie would be lit on set and dailies would be created. Meanwhile, on set, any changes the dailies colorist Darren Rae made were passed through to VFX and to final color as a CDL (color decision list) file.

In fact, Solo introduced a number of unique factors to Gawler’s typical workflow. Among them was working on a film with so many visual effects — a hallmark of any Star Wars feature, but far more than any production he has color corrected in the past. Also, while he and Young participated in tweaking the LUT, it was created by ILM senior image and process engineer J. Schulte. Indeed, the film’s color pipeline was both developed and managed through ILM, where those fabled visual effects were crafted.

“That was something new to me,” Gawler says about the pipeline establishment. “There were some specific lasers, lights and things that are all part of the Star Wars world that were critical to ILM, and we had to make sure we got just the right hue and level of saturation. Those kinds of colors can get a little crazy if they’re not managed properly through the color science,” he explains. “But the way they managed the color and the way the shots came in from ILM was so smooth and the work so good that it moved like principal photography through the process, which isn’t always the case with visual effects, in my experience.”

So, by the time Gawler was at Skywalker Ranch, he had an informed timeline and CDL values, such as the actual dailies and decisions made for the production, already sitting inside his color correction, ready for him to decide what to use. He then spent a few days balancing out the shots before Young joined him and they dug in. “We’ve been working together for such a long time, and there’s a level of trust between us,” Gawler says of his relationship with the DP.

The pair started working together on an indie project called Pariah — which won the Excellence in Cinematography: Dramatic at Sundance in 2011 — and continued to do so as their resumes grew. Last year, they worked together on Arrival (2016), which led to a Best Cinematography Academy Award nomination for Young. “And now, holy cow, he is shooting a Star Wars film,” says Gawler. “It’s been one of those special relationships everyone dreams of having, where you find a director of photography you connect with, and you go places together.”

Gawler used Resolve for his color grading. He and Young would work alongside each other for a few days, then would meet with Howard. “It is such a big movie, and I was really pleasantly surprised at what a creatively collaborative experience it was,” he notes. “Ron respects Bradford, his editors, his sound mixers and me as a colorist, so he would take in whatever we were presenting to him and then comment. Everyone had such a wonderful energy on the show. It felt like every single person on the VFX team, editorial team, director, producers, Bradford and I were all rowing the boat in the same direction.”

The work Gawler does with Young is kept as natural as possible, with the light that is available. “His work is so good that we generally refrain from doing too much power windowing and secondaries. We only do that when absolutely necessary,” he says. “We try to keep more of a photo-chemical feel to the images, like you would have if you printed on film.”

Young, Gawler contends, is known for a dark, underlit aesthetic. But on this particular film, they didn’t want to go too dark — though it does have Young’s classic underlit, subtle hue. “We were making an effort to print up the image, so it almost felt like it had been flashed in processing,” he explains. “We had to find that balance of having it bright enough to see things we needed to see clearly, without compromising how Bradford shot the movie to begin with. The image is very committed; it’s not the most flexible thing to make his photography look like 20 different things.”

As a result, plenty of time was spent with the on-set lighting. “So, a lot of the work was just staying true to what was done on the day of the shoot,” he adds.

Solo is like most Star Wars films, with diverse locations and setups, though there are a few scenes that stand out in Gawler’s mind, including the one at the beginning of the film with the underground lair of Lady Proxima, which shows tunnels spanning the city. The sequence was shot with a blacklight, with lots of blues and purples. “We had a very narrow bandwidth of color to work with, but we wanted to back away from it feeling too electric to something that felt more organic,” he explains. “We spent a lot of time homing in on what kind of saturation and formality it would have.”

The scene Gawler spent the most time on, though, was the heist aboard a special train that weaves through snow-capped mountains. “That’s the biggest, longest, most cutty action sequence in the entire movie,” he says. “We had all these exterior plates shot in the Dolomites [in Spain]. We spent a tremendous amount of time just trying to get everything to match just right on the cut.”

All told, Gawler estimates the sequence alone contains 600 to 700 cuts. And he had to create a progression, wherein the characters drop down on top of the train before dawn’s first light, when it’s dark and cool, and the heist occurs during sunrise as the train rounds a bend. “We made sure they were happy with how every shot cut from one to the next and how it progressed [time-wise]. It was probably our biggest challenge and our biggest success,” he says. “It really gets the audience going.”

Most of Solo’s scenes were shot on stage, in highly controlled environments. However, scenes that occur on the planet Savareen were filmed in the Canary Islands, where wind and weather became factors, with shifting clouds and light. “I felt that it was one of the few spots in the movie where it was up to the colorist to try and pull all these different types of shots together,” notes Gawler, “and it was beautiful. It felt a little like a Western, with this standoff. It comes right after a chase with the TIE fighters and Millennium Falcon in space, and then Boom! You’re on this desert-like planet with a blaring sun and sand and dust everywhere.”

Another standout for Gawler was the large number of deliverables. Once the master was locked and approved (the grade was done in 4K) with support from Efilm in Hollywood, they had to sit with an IMAX colorist to make sure the work translated properly to that format. Then they moved to Dolby Vision, whose laser projector has a much greater range of contrast and brightness than a halogen digital cinema projector. “I give credit to J Schulte at ILM. He had these output display lookup tables for each flavor of delivery. So, it wasn’t a heavy lift for me to go from what we did at the Ranch to sitting in the Dolby cinema theater, where we spent maybe another three days tweaking everything,” he adds.

And then there was a 3D version and a Dolby 3D version of Solo, along with those for home video, 3D for home video, RealD 3D, and Dolby Vision’s home theater. “Being a colorist from New York, I don’t generally get a lot of tent-pole films with so many different flavors of deliverables,” Gawler says.

But this is not just any tent-pole. It’s Star Wars.

Throughout the project, that fact was always in the back of Gawler ’s mind. “This is a real part of culture — pop culture, film culture. There’s all this lore. You work on other projects and hope the film is going to find an audience. But with Star Wars, there’s no doubt millions of people are going to see it,” he adds.


Karen Maierhofer is a longtime technical writer with more than two decades of experience in segments of the CG and post industries.

Director Todd Haynes on making Wonderstruck

By Iain Blair

Writer/director Todd Haynes is a supreme visual stylist with a deep affection for period pieces and a masterly touch when it comes to dealing with such adult themes as desire, repression and regret. Now Haynes — who was Oscar-nominated for his Far From Heaven ’50s drama — brings those gifts and his sense of wonder and imagination to his new film Wonderstruck, which is based on an illustrated children’s novel by Brian Selznick. Selznick also wrote and drew “The Invention of Hugo Cabaret,” which became Martin Scorsese’s Hugo.

Set in the 1920s and the 1970s, Wonderstruck tells the story of Ben and Rose, two deaf children from two different eras who secretly wish their lives were different. Ben longs for the father he has never known, while Rose dreams of a mysterious actress whose life she chronicles in a scrapbook. When Ben discovers a puzzling clue in his home and Rose reads an enticing headline in the newspaper, both children set out on quests to find what they are missing that unfold with mesmerizing symmetry.

The film is already generating a lot of Oscar buzz for its young stars’ performances — opposite co-stars Julianne Moore and Michelle Williams — and for Haynes, whose credits include Carol, the acclaimed Bob Dylan picture I’m Not There, Velvet Goldmine, Safe and Mildred Pierce.

I spoke with Haynes about making the film.

What was the appeal of making this movie?
I wanted to make something adults hadn’t seen before and that I didn’t think kids had ever seen before. I wanted them to feel like someone believed in their ability to have their minds blown, and to look back to the past — all these things we think kids don’t do anymore, like turning off their phones and watching a black and white film with little dialogue, and dealing with a weird structure to the movie. Maybe I’m crazy, but I think kids are capable of all kinds of things and maybe we forget that.

This is your first film with kids in the leads. Was it something you always wanted to do?
Yes. I’ve worked with kids in a lot of my films, and I made a short, Dottie Gets Spanked, back in ’93 with kids as the main characters, but I’d never done anything like this… with two deaf kids as the leads.

The theme of deafness must have opened up a lot of possibilities, as the whole B&W section plays like a silent film.
Exactly, and the B&W bit was just the beginning. The deafness was there in Brian’s book and screenplay but to a degree I just didn’t appreciate when I first read his script, and then even after I’d shot it; I didn’t initially realize just how silent the movie is, and how little dialogue there is. There’s whole stretches without any talking, and then a character says something and it hits you. But I feel that if you’re into the movie, you don’t miss the talking in those sections.

The film was shot by your usual DP, Ed Lachman. What look were you going for?
It was a lot of fun bouncing between the different eras, and getting the B&W look and then New York City, which was a very different, look — but it’s kind of fun afterwards (laughs). That’s what challenges are. They’re not so much fun when you’re in the throes of dealing with them, but it was creatively tantalizing finding the textures and contrasts between the different eras, and we did a lot of planning and preproduction, focusing on all the detail.

Why do you love doing period pieces so much?
I think they make you ask, “Why are we watching this movie? Why is the director doing this or that?” So you set up a frame that makes you think about what the movie’s telling you about, so you have choices being made all the time. And looking at the past through a frame means you’re invariably also looking at where you stand now, and then you think about the relevance of the past and what it means today. It’s never about making today disappear. It’s about a conscious role in comparing the past and present.

Do you like the post process?
I really love it, because after all the craziness and time and money pressures of the shoot. You’re back in a small dark room, and you’re also down to a far lower overhead and the fewest number of people around, so it feels very cozy and intimate, which I love.

Where did you post?
We did it all at Harbor Post in downtown New York — the cutting, the sound, the VFX and the DI.

Todd Haynes and writer Iain Blair

The film was edited by Affonso Goncaves, who worked with you on Carol and Mildred Pierce. Tell us about that relationship and the editing challenges.
So much of post was about editorial, and he was key to it all: the editorial language and how the film would ultimately work and connect with people. I really relish working closely with my editor, and he’s a great partner and very smart and knowledgeable. Our big challenge was figuring out how to deal with the two different stories and the time spent on each. Brian’s script marked all the intercutting very specifically, and it was all infused with a very cinematic quality that was very infectious. But I also knew it was something you have to wait and see how it actually works. And, ultimately, we learned that we had to spend more time with one story before cutting to the next.

You have to develop enough attachment to one character and to what they’re doing before you cut to the other. Then you have to pace it so you want to come back again. It was continually about finding the right balance. Then we actually screened a lot of cuts of the movie for kids, and that helped us so much and completely informed what we did. They reacted encouragingly — and maybe they misled us (laughs) — but they were remarkably specific with their comments.

Period films always have a lot of visual effects. Can you talk about that, and working with VFX supervisor Louis Morin?
Louis worked a lot with Denis Villeneuve and did Arrival and Sicario for him, and his credits include The Aviator and Brokeback Mountain, so he’s very experienced. I worked with him before on I’m Not There, and he’s a real artist and very sensitive. The best VFX shots in period pieces are the ones where you don’t fully rely on them; we did as much as possible in camera and practically, and then finished them with digital work by Alchemy 24 and Framestore. It’s a very close relationship between your production designer and VFX supervisor, and there’s always a lot of removal of contemporary stuff and cosmetic work and clean-up.

Given this is partly a silent film, can you talk about the importance of music and sound?
They’re so important, it’s hard to overstate. My sound designer Leslie Shatz, who I met through Gus van Sant, has done something like 200 films now and is so experienced. I’ve worked with him since Far From Heaven. This is the fourth collaboration with Carter Burwell, and like the sound designer and my sound recorder Drew Kunin he was involved from preproduction on.

So we’d all discuss sound and we recorded everything — all the dialogue for the B&W bits, all the ambiance, so we had it, even if it was just an indication of what we’d eventually do. We didn’t know how much marking with rhythm and percussion we’d use for the dialogue, and how effective it’d be — and I found that it wasn’t effective, and that every time we marked dialogue it just didn’t work. But we marked for gesture and that worked.

What’s next?
I’ve got a bunch of projects, including a documentary about The Velvet Underground. I’ve never done a documentary before and I’m excited about all the period research.


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

 

 

Behind the Title: Harbor Picture Company’s DP Greg Wilson

NAME: Greg Wilson

COMPANY: Harbor Picture Company

CAN YOU DESCRIBE YOUR COMPANY?
Harbor Picture Company is a post production and production company based in New York City. We help content creators — studios, networks, directors, brands and agencies — execute high-caliber content efficiently and at scale. The company offers a range of services, including sound mixing, color, ADR, picture editorial and VFX, housed across five facilities, including the largest ADR soundstage and largest theatrical mix stage in New York.

I’m part of Harbor’s DP Collective, a group of elite directors of photography who specialize in bringing a cinematic style and quality to any screen.

WHAT’S YOUR JOB TITLE?
Director of Photography

WHAT DOES THAT ENTAIL?
My role is to create the look and feel of a film or commercial through lighting, camera direction, lensing and blocking to best fit the story the director is trying to tell. This revolves around communication with the department heads to build towards a unified goal and create the right tone for the story.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I think people would be surprised by the amount of time and perseverance some projects can take from concept to final product, but anything that’s worth doing is going to take a lot of energy and effort. For example, the project I did for National Geographic Magazine, Cheetahs on the Edge, took more than nine months to produce and put together.

With the folks over at DoggiCam I designed a 410-foot dolly to use on a shot of a sprinting cheetah. The goal was to mimic the perspective that Eadweard Muybridge achieved in the late 1800s when photographing a running horse. He invented motion picture with those images, and I wanted to take a similar approach by using the most modern technology available at the time.

I wanted to move a camera alongside the fastest land animal in the world, giving a unique perspective on how they move. I believed in this project very much but it was a challenge to get it off the ground, I worked with National Geographic Magazine to raise the money and obtain all the proper permissions to build this dolly system and secure the access to the cheetahs at the Cincinnati Zoo. Once we were green lit, we spent four months acclimating the cheetahs to the sounds of the high-speed camera system, which was very loud. I played a pre-recorded sound for them while they ate to build positive reinforcement, so they wouldn’t be frightened by the noise or speed of the system when we actually started shooting.

From there, we had to design an arpeggiation device to trigger the three DSLR cameras that were on a sled with the high-speed Phantom camera. This arpeggiation device created a seamless looping of the shutters on each Canon D1x, each running at 14fps, giving us 42fps at 20.2MP for still photographs to put in the magazine. This is just one example, but I work on many challenging technical jobs that require a lot of prep time to design new techniques, overcome hurdles and, ultimately, ensure that we’ll get the best images we can.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Being around tenacious and engaged people working as a team to create something that didn’t exist beyond a script until you start to roll the cameras. Being able to work in so many different environments and in and out of unique stories constantly keeps things fresh and exciting.

WHAT’S YOUR LEAST FAVORITE?
The schedule can be a challenge. It can be tough being on the road so much, but there’s a give and take. For as much as I’m away, I try to have a balance of time off so I don’t get burnt out.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
A cold, misty morning is my favorite, but it’s so fleeting. Magic hour is the best to shoot in.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I’d still be working as a photojournalist and in the darkroom as a black and white printer.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
This is my third career, believe it or not. I turned pro as a snowboarder when I was 15 years old and went to the Olympics at 22. After a very bad injury, that left me in the hospital for many months and unable to walk or do much of anything for nearly a year, I found my way into still photography and worked for six years as a photojournalist for National Geographic, Rolling Stone, Wired, Spin, Fader, NYT and other newspapers and magazines.

I also worked as a traditional black and white printer in New York after working as a platinum printer for more than two years in Massachusetts. I found cinematography after seeing some films that really rattled me and made me see the world in a way that I understood, one of which was the Brazilian film Pixote.

I wanted to understand how to create the same emotions and tone I was after in my still photography and apply it to motion. Music was a huge part of this interest as well. The fact that you could use sound to influence the picture was a major eye opener early on. Even though I didn’t get into motion pictures until I was 30, I think my past experience in other fields has greatly influenced my life behind the camera and given me a perspective on the subjects that I photograph.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
I recently finished a documentary that I’m really excited about called Zion. It’s about a young black wrestler who was born without legs into the foster care system in Ohio. It’s a powerful story and really resonated with me. The director Floyd Russ and I have a few more sports films coming down the line soon.

I also finished up a Netflix Original feature, Amateur, with Director Ryan Koo about a young basketball player dealing with the trials and tribulations of NCAA rules and corruption inside the sport. Lately, I’ve been working on a mix of documentaries, feature projects and commercials — with a lot of them coincidentally surrounding the sports world.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I’m not sure what I’m most proud of. I don’t like to think about it like that. But one project that I was very happy to have been involved with was another recent collaboration with Floyd Russ and NFL Films for the Ad Council’s campaign, “Love Has No Labels.” The spot used the iconic Kiss Cam to showcase love. Period. It was a real pleasure to be a part of that project and see the overwhelming response to the spot. It was great to work on a commercial project with such a great message behind it.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Wireless video, my light meter and, unfortunately, my cell phone.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I’m pretty active on Instagram, you can follow me at @greg_wilson_dp

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
I am constantly listening to music. Lately, for writing, it’s been Stars of the Lid. Otherwise I’ve been listening to Billy Swan, Kendrick, The Bats and Mogwai.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I like to spend time in the darkroom printing. I like fishing, being outdoors, riding my bike and woodworking. I like old processes, things where I use my hands and take a step back from technology.

Harbor’s Bobby Johanson discusses ADR for TV and film

By Jennifer Walden

A lot of work comes in and out of the ADR department at New York City’s Harbor Picture Company. A lot.

Over the past year alone, ADR mixer Bobby Johanson has been cranking out ADR and loop group for films such as Beauty and the Beast, The Light Between Oceans, Patriots Day, The Girl on the Train, Triple 9, Hail, Caesar! and more.

His expertise goes beyond film though. Johanson also does ADR for series, for shows like Amazon’s Red Oaks and their upcoming series The Marvelous Mrs. Maisel, and Netflix’s Master of None, which we will touch on lightly in a bit. First, let’s talk the art of ADR.

According to Johanson, “Last week, I did full days on three different films. Some weeks we record full days, nights and weekends, depending on the season, film festivals, what’s in post, actor availability and everything else that goes on with scheduling. Some sessions will book for two hours out of a day, while another client will want eight hours because of actor availability.”

With so many projects passing through his studio, efficiency is essential, but not at the cost of a job well done. “You have an actor on the stage and the director in the room, and you have to make things efficient,” says Johanson. “You have to play lines back as they are going to be in the show. You want to play the line and hear, ‘Was that ADR?’ Instantly, it’s a whole new world. People have been burned by not so good ADR in the past, and I feel like that compromises the performance. It’s very important for the talent to feel like they’re in good hands, so they forget about the technical side and just focus on their acting.”

Johanson got his start in ADR at New York’s Sound One facility, first as a messenger running reels around, and then moving up to the machine room when there was an opening for Sound One’s new ADR stage. “We didn’t really have anyone teaching us. The job was shown to us once; then we just had to figure out how to thread the dubbers and the projector. Once we got those hung, we would sit in the ADR studio and watch. I picked up a lot of my skills old-school. I’ve learned to incorporate those techniques into current technology and that works well for us.”

Tools
Gear-wise, one staple of his ADR career has been the Soundmaster ADR control system. Johanson calls it an “old-school tool,” probably 25 years old at this point, but he hasn’t found anything faster for recording ADR. “I used it at Sound One, and I used it at Digital Cinema, and now I use it here at Harbor. Until someone can invent another ADR synchronizer, this is the best for me.”

Johanson integrates the Soundmaster system with Avid Pro Tools 12 and works as a two-man team with ADR recordist Mike Rivera. “You can’t beat the efficiency and the attention to detail that you can get with the two-man team.”

Rivera tags the takes and makes minor edits while Johanson focuses on the director and the talent. “Because we are working on a synchronizer, the ADR recordist can do things that you couldn’t do if you were just shooting straight to Pro Tools,” explains Johanson. “We can actually edit on the fly and instantly playback the line in sync. I have the time to get the reverb on it and sweeten it. I can mix the line in because I’m not cutting it or pulling it into the track. That is being done while the system is moving on the pre-roll for a playback.”

For reverb, Johanson chooses an outboard Lexicon PCM80. This puts the controls easily within reach, and he can quickly add or change the reverb on the fly, helping the clean ADR line to sync into the scene. “The reverb unit is pretty old, but it is single-handedly the easiest reverb unit that you can use. There are four room sizes, and then you can adjust the delay of the reverb four times. I have been using this reverb for so many years now that I can match any reverb from any movie or TV show because I know this unit so well.”

Another key piece of gear in his set-up is an outboard Eventide H3000 SE sampler, which Johanson uses to sample the dialogue line they need to replace and play it back over and over for the actor to re-perform. “We offer a variety of ways to do ADR, like using beeps and having the actor perform to picture, but many actors prefer an older method that goes back to ‘looping.’ Back in the day, you would just run a line over and over again and the actor would emulate it. Then we put the select take of that line to picture. It’s a method that 60 percent of our actors who come in here love to do, and I can do that using the sampler.”

He also uses the sampler for playback. By sampling background noise from the scene, he can play that under the ADR line during playback and it helps the ADR to sit in the scene. “I keep the sampler and reverb as outboard gear because I can control them quickly. I’m doing things freestyle and we don’t have to stop the session. We don’t have to stop the system and wait for a playback or wait to do a record pass. Because we are a two-man operation, I can focus on these pieces of gear while Mike is tagging the takes with their cue numbers and managing them in the Pro Tools session for delivery. I can’t find an easier or quicker way to do what I do.”

While Johanson’s set-up may lack the luster of newly minted audio tools, it’s hard to argue with results. It’s not a case of “if it’s not broke then don’t fix it,” but rather a case of “don’t mess with perfection.”

Master of None
The set-up served them well while recording ADR and loop group for Netflix’s Emmy-winning comedy series Master of None. “Kudos to production sound mixer Michael Barosky because there wasn’t too much dialogue that we needed to replace with ADR for Season 2,” says Johanson. “But we did do a lot of loop group — sweetening backgrounds and walla, and things like that.”

For the Italian episodes, they brought in bilingual actors to record Italian language loop group. One scene that stood out for Johanson was the wedding scene in Italy, where the guests start jumping into the swimming pool. “We have a nice-sized ADR stage and so that frees us up to do a lot of movement. We were directing the actors to jump in front of the mic and run by the mic, to give us the effect of people jumping into the pool. That worked quite nicely in the track.”

Corey Stewart joins Harbor Picture Company as CTO 

New York-based full-service post house Harbor Picture Company has hired Corey Stewart as chief technology officer. He brings 20 years of industry experience to his role.

Stewart joins Harbor from Technicolor PostWorks New York, where he had served as chief engineer since 2008. During that time he designed and managed integration of a large-scale routing control system, created a KVM switching infrastructure to increase room flexibility and production, and managed engineering teams during acquisitions and management changes.

Prior to that role, Stewart held a number of jobs at the company, including online editor, Avid support technician and lead engineer. Earlier on in his career, Stewart attended the School of Visual Arts in New York where he studied film and video with an editorial concentration, taught film production classes and worked as an Adobe After Effects designer/assistant editor at Harvey’s Place. He has been credited as DI engineer on a variety of feature films and television shows. He is also a member of the HPA, SMPTE, Digital Cinema Technology and more.

“The reality of our new landscape of anywhere, anytime, any artist, has demanded that we continue to seek out new technologies and technologists to facilitate the type of unlimited access to creativity that clients are in search of,” says founder/president Zak Tucker. “Corey was the perfect candidate for this new position because he shares our vision and holistic approach to post — providing omnipresent support to clients, everywhere from on set to the point of delivery. The creative benefit of this type of seamless workflow is the collaboration fostered between picture and sound, and it’s only made possible by the types of technological advancements and workflows industry vets like Corey are implementing and innovating.”

Recent Harbor projects include work on Arrival, Beauty and the Beast and Showtime’s Billions.

The A-List: Jim Jarmusch on his latest film Paterson

By Iain Blair

Over the past few decades, writer/director Jim Jarmusch has followed the beat of his own drum and built up a body of idiosyncratic films that include Permanent Vacation (1980), Stranger Than Paradise (1984), Down by Law (1986), Mystery Train (1989), Night on Earth (1991), Dead Man (1995), Year of the Horse (1997), Ghost Dog: The Way of the Samurai (1999), Coffee and Cigarettes (2003), Broken Flowers (2005), The Limits of Control (2009), Only Lovers Left Alive (2013) and Gimme Danger (2016).

Jim Jarmusch and Iain Blair.

His new film, Paterson, fits firmly in that tradition. Paterson (Adam Driver) is a bus driver in the city of Paterson, New Jersey — he is also a poet. Each day he adheres to a simple routine: he drives his daily route observing the city as it drifts across his windshield and while overhearing fragments of conversations swirling around him; he writes poetry into a notebook; he walks his dog; he stops in a bar and drinks exactly one beer; he goes home to his wife, Laura (Golshifteh Farahani).

By contrast, Laura’s world is ever changing. New dreams come to her almost daily, each a different and inspired project. They have a happy marriage and love each other. He supports her newfound ambitions and she champions his gift for poetry. The film quietly observes the small triumphs and defeats of daily life, along with the poetry evident in its smallest details. As Jarmusch himself says, it’s “a kind of antidote to dark, heavily dramatic or action-oriented cinema.” No kidding. The film’s big action scene is when Paterson’s bus breaks down.

In a rare interview — he doesn’t like doing press or promotion — I met up with Jarmusch about making the film, his workflow and poetry.

You’ve always been interested in poetry?
Yes, since I was a teenager. I studied poetry at Columbia and I read a lot of Rimbaud and the French poets. I then got into the American poets like Walt Whitman and William Carlos Williams, who came from Paterson, so it all ties together. This is my first film where the main character’s a poet, but I’ve woven references to poetry into a lot of my films, such as Mystery Train and Ghost Dog and Dead Man, so there’s a thread there.

How long had this idea been gestating?
A long time. Some 20 years ago I took a trip to Paterson because of William Carlos Williams, and the whole idea of it being a utopian idea for an industrial city. Allen Ginsberg had also grown up there, and when I got home I made notes about a possible story about a guy named Paterson who lives in Paterson and writes poetry. I also got very interested in the history of the city, which is fascinating. Then I finally wrote the script about six years ago.

Fair to say it’s a wry look at the simple pleasures of domestic life?
Absolutely. I think it’s a comedy, like almost all my films — or at least, they have comedic elements. It’s a story about details, all the little mundane stuff of daily life, the slight variations in the days of the week, that might inspire a poet that is of that school. It’s not the poetry of exclamation. I intentionally avoided conflict, action and, to some degree, plot. For some time I’ve been trying to make films where you’re hopefully not always thinking about what’s going to happen next — Zen-like things where you’re just in the present all the time.

What did Adam Driver and Golshifteh Farahani bring to their roles, as you usually write with specific actors in mind?
Nearly always, but not this time, which was very strange for me. I’d seen him in just a few things and I love his look. Once we met I intuitively knew he’d be just right, because he has this very subtle, good sense of humor, he’s quiet and very observant. He’s not analytical, he’s intuitive like me, and I was so lucky to get him and create this character together. I wrote Laura as this all-American girl, but someone I know said, “Why don’t you cast Golshifteh Farahani, since you love her work?” Once we met, I thought, why not? And the city of Paterson is very ethnically diverse, so it made sense.

Do you like the post process?
I love editing and post. I love all parts of filmmaking, except getting the financing, which can be agonizing. But the rest is so much fun, and post is where you really make the film. Shooting for me, since I don’t have it all figured out, is just gathering all the material. In post is where you find the film and finesse it into the form it tells you it wants to be.

Where did you do the post?
We did it all — editing, sound and the DI — in New York at Harbor Picture Company.

You worked with editor Affonso Gonçalves, whose credits include Beasts of the Southern Wild, Winter’s Bone and who cut Only Lovers Left Alive for you. Tell us about that relationship?
He doesn’t usually come on the set — maybe a couple of times on this one. He got familiar with the dailies as we shot, but he didn’t really start cutting (via Avid Media Composer) until we were done shooting. Then a very important part of my job is to select the takes, as I’ve collaborated for a long time with the actors, and that’s not always obvious in the editing room. You could make a totally different film by taking, say, all the most light-hearted takes. So we go through all the takes and mark what I like, and then we start working and shaping it. He starts in the mornings and then I come in after lunch and we work together. Sometimes I get ahead of him, so some days I don’t come in, but generally it’s a daily thing.

Can you talk about the importance of music and sound in the film?
I have incredible sound designers I’ve worked with on many films over the years — sound designer Robert Hein and re-recording mixer Tony Volante — and it’s all incredibly important to me. Sound is half the film, so it’s very delicate and evocative, and the big thing I love about it is it’s the closest thing humans create to dreaming, drifting into this parallel world.

Robert Hein is this amazing artist, and we discuss things as detailed as, how many trees are close to the house? What types of birds and how many would be audible at dawn? Or you hear a distant motorcycle go by. We discuss exactly what type of bike is it, and what does that mean. What kind of people are around? The audience isn’t conscious of all that, but all these details form the fabric of the film and accumulate over all the scenes. The visual seems more important, more dominant, but it’s the sound and music that often tell the real story of what’s going on in a film. So I love love love working on all the sound. (At part of his process, Hein used Avid Pro Tools 12.5 Native during editorial, Pro Tools 12.5 HD in the mix studio and the Avid System 5 mixing console during the mix.)

How important was the DI on this?
We did it with colorist Joe Gawler, who did Arrival. In my opinion he’s the greatest on this planet. He is the man! I had the master Fred Elmes as my DP, and when I got the two of them together — I was thinking, “How did I trick these great artists into working with me?!” So I sat in on the timing, but I defer to them as they really elevate the look, which is really quite beautiful. (Gawler used Blackmagic’s DaVinci Resolve.)

What’s the state of indies today?
Financing is much harder now, and there are fewer companies, especially in the States. And the theatrical release used to be the big business part of it, and then the video release and so on was just ancillary. But now that’s totally flipped, and the theatrical release is just the promotion for the VOD and so on. It’s mind-boggling for me, though it doesn’t affect how you make a film. When people say, ‘The novel’s dead, it’s the end of cinema,’ that’s all nonsense. These art forms change and fluctuate and mutate, but they don’t die.


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

The sound of two worlds for The Lost City of Z

By Jennifer Walden

If you are an explorer, your goal is to go where no one has gone before, or maybe it’s to unearth and re-discover a long-lost world. Director James Gray (The Immigrant), takes on David Grann’s non-fiction novel The Lost City of Z, which follows the adventures of British explorer Colonel Percival Fawcett, who in 1925 disappeared with his son in the Amazon jungle while on a quest to locate an ancient lost city.

Gray’s biographical film, which premiered October 15 at the 54th New York Film Festival, takes an interpretive approach to the story by exploring Fawcett’s inner landscape, which is at odds with his physical location — whether he’s in England or the Amazon, his thoughts drift between the two incongruent worlds.

Once Gray returned from filming The Lost City of Z in the jungles of Colombia, he met up with supervising sound editor/sound designer Robert Hein at New York’s Harbor Picture Company. Having worked together on The Immigrant years ago, Hein says he and Gray have an understanding of each other’s aesthetics. “He has very high goals for himself, and I try to have that also. I enjoy our collaboration; we keep pushing the envelope. We have a mutual appreciation for making a film the greatest it can be. It’s an evolution, and we keep pushing the film to new places.”

The Sound of Two Worlds
Gray felt Hein and Harbor Picture Company would be the perfect partner to handle the challenging sound job for The Lost City of Z. “It involved the creation of two very different worlds: Victorian England, and the jungle. Both feature the backdrop of World War I. Therefore, we wanted someone who naturally thinks outside the box, someone who doesn’t only look at the images on the screen, but takes chances and does things outside the realm of what you originally had in mind, and Bob [Hein] and his crew are those people.”

Bob Hein

Gray tasked Hein with designing a soundscape that could merge Fawcett’s physical location with his inner world. Fawcett (Charlie Hunnam) is presented with physical attacks and struggles, but it’s his inner struggle that Gray wanted to focus on. Hein explains, “Fawcett is a conflicted character. A big part of the film is his longing for two worlds: the Amazon and England. When he’s in one place, his mind is in the other, so that was very challenging to pull off.”

To help convey Fawcett’s emotional and mental conflicts, Hein introduced the sounds of England into the Amazon, and vice-versa, subtly blending the two worlds. Through sound, the audience escapes the physical setting and goes into Fawcett’s mind. For example, the film opens with the sounds of the jungle, to which Hein added an indigenous Amazonian battle drum that transforms into the drumming of an English soldier, since Fawcett is physically with a group of soldiers preparing for a hunt. Hein explains that Fawcett’s belief that the Amazonians were just as civilized as Europeans (maybe even more so) was a controversial idea at the time. Merging their drumming wasn’t just a means of carrying the audience from the Amazon to England; it was also a comment on the two civilizations.

“In a way, it’s kind of emblematic of the whole sound design,” explains Hein. “It starts out as one thing but then it transforms into another. We did that throughout the film. I think it’s very beautiful and engaging. Through the sound you enter into his world, so we did a lot of those transitions.”

In another scene, Fawcett is traveling down a river in the jungle and he’s thinking about his family in England. Here, Hein adds an indigenous bird calling, and as the scene develops he blends the sound of that bird with an English church bell. “It’s very subtle,” he says. “The sounds just merge. It’s the merging of two worlds. It’s a feeling more than an obvious trick.”

During a WWI battle scene, Fawcett leads a charge of troops out of their trench. Here Hein adds sounds related to the Amazon in juxtaposition of Fawcett’s immediate situation. “Right before he goes into war, he’s back in the jungle even though he is physically in the trenches. What you hear in his head are memories of the jungle. You hear the indigenous Amazonians, but unless you’re told what it is you might not know.”

A War Cry
According to Hein, one of the big events in the film occurs when Fawcett is being attacked by Amazonians. They are shooting at him but he refuses to accept defeat. Fawcett holds up his bible and an arrow goes tearing into the book. At that moment, the film takes the audience inside Fawcett’s mind as his whole life flashes by. “The sound is a very big part of that because you hear memories of England and memories of his life and his family, but then you start to hear an indigenous war cry that I changed dramatically,” explains Hein. “It doesn’t sound like something that would come out of a human voice. It’s more of an ethereal, haunted reference to the war cry.”

As Fawcett comes back to reality that sound gets erased by the jungle ambience. “He’s left alone in the jungle, staring at a tribe of Indians that just tried to kill him. That was a very effective sound design moment in this film.”

To turn that war cry into an ethereal sound, Hein used a granular synthesizer plug-in called Paulstretch (or Paul’s Extreme Sound Stretch) created by Software Engineer by Paul Nasca. “Paulstretch turns sounds almost into music,” he says. “It’s an old technology, but it does some very special things. You can set it for a variety of effects. I would play around with it until I found what I liked. There were a lot of versions of a lot of different ideas as we went along.”

It’s all part of the creative process, which Gray is happy to explore. “What’s great is that James [Gray] is excited about sound,” says Hein. “He would hang out and we would play things together and we would talk about the film, about the main character, and we would arrive at sounds together.”

Drones
Additionally, Hein sound designed drones to highlight the anxiety and trepidation that Fawcett feels. “The drones are low, sub-frequency sounds but they present a certain atmosphere that conveys dread. These elements are very subtle. You don’t get hit over the head with them,” he says.

The drones and all the sound design were created from natural sounds from the Amazon or England. For example, to create a low-end drone, they would start with jungle sounds — imagine a bee’s nest or an Amazonian instrument — and then manipulate those. “Everything was done to immerse the audience in the world of The Lost City of Z in its purest sense,” says Hein, who worked closely with Harbor’s sound editors Glenfield Payne, Damian Volpe and Dave Paterson. “They did great work and were crucial in the sound design.”

The Amazon
Gray also asked that Hein design the indigenous Amazon world exactly the way that it should be, as real as it could be. Hein says, “It’s very hard to find the correct sound to go along with the images. A lot of my endeavor was researching and finding people who did recordings in the Amazon.”

He scoured the Smithsonian Institute Archives, and did hours of research online, looking for audio preservationists who captured field recordings of indigenous Amazonians. “There was one amazing coincidence,” says Hein. “There’s a scene in the movie where the Indians are using an herbal potion to stun the fish in the river. That’s how they do it so as not to over-fish their environment. James [Gray] had found this chant that he wanted to have there, but that chant wasn’t actually a fishing chant. Fortunately, I found a recording of the actual fishing chant online. It’s beautifully done. I contacted the recordist and he gave us the rights to use it.”

Filming in the Amazon, under very difficult conditions presented Hein with another post production challenge. “Location sound recording in the jungle is challenging because there were loud insects, rain and thunder. There were even far-afield trucks and airplanes that didn’t exist at the time.”

Gray was very concerned that sections of the location dialogue would be unusable. “The performances in the film are so great because they went deep into the Amazon jungle to shoot this film. Physically being in that environment I’m sure was very stressful, and that added a certain quality to the actors’ performances that would have been very difficult to replace with ADR,” says Hein, who carefully cleaned up the dialogue using several tools, including iZotope’s RX 5 Advanced audio restoration software. “With RX 5 Advanced, we could microscopically choose which sounds we wanted to keep and which sounds we wanted to remove, and that’s done visually. RX gives you a visual map of the audio and you can paint out sounds that are unnecessary. It’s almost like Photoshop for sound.”

Hein shared the cleaned dialogue tracks with Gray, who was thrilled. “He was so excited about them. He said, “I can use my location sound!” That was a big part of the project.”

ADR and The Mix
While much of the dialogue was saved, there were still a few problematic scenes that required ADR, including a scene that was filmed during a tropical rainstorm, and another that was shot on a noisy train as it traveled over the mountains in Colombia. Harbor’s ADR supervisor Bobby Johanson, who has worked with Gray on previous films, recorded everything on Harbor’s ADR stage that is located just down the hall from Hein’s edit suite and the dub stage.

Gray says, “Harbor is not just great for New York; it’s great, period. It is this fantastic place where they’ve got soundstages that are 150 feet away from the editing rooms, which is incredibly convenient. I knew they could handle the job, and it was really a perfect scenario.”

The Lost City of Z was mixed in 5.1 surround on an Avid/Euphonix System 5 console by re-recording mixers Tom Johnson (dialogue/music) and Josh Berger (effects, Foley, backgrounds) in Studio A at Harbor Sound’s King Street location in Soho. It was also reviewed on the Harbor Grand stage, which is the largest theatrical mix stage in New York. The team used the 5.1 environment to create the feeling of being engulfed by the jungle. Fawcett’s trips, some which lasted years, were grueling and filled with disease and death. “The jungle is a scary place to be! We really wanted to make sure that the audience understood the magnitude of Percy’s trips to the Amazon,” says Berger. “There are certain scenes where we used sound to heighten the audience’s perspective of how erratic and punishing the jungle can be, i.e. when the team gets caught in rapids or when they come under siege from various Indian tribes.”

Johnson, who typically mixes at Skywalker Sound, had an interesting approach to the final mix. Hein explains that Johnson would first play a reel with every available sound in it — all the dialogue and ADR, all the sound effects and Foley — and the music. “We played it all in the reel,” says Hein. “It would be overwhelming. It would be unmixed and at times chaotic. But it gave us a very good idea of how to approach the mix.”

As they worked through the film, the sound would evolve in unexpected ways. What they heard toward the end of the first pass influenced their approach on the beginning of the second pass. “The film became a living being. We became very flexible about how the sound design was coming in and out of different scenes. The sound became very integrated into the film as a whole. It was really great to experience that,” shares Hein.

As Johnson and Berger mixed, Hein was busy creating new sound design elements for the visual effects that were still coming in at the last minute. For example, the final version of the arrows that were shot in the film didn’t come in until the last minute. “The arrows had to have a real special quality about them. They were very specific in communicating just how dangerous the situation actually was and what they were up against,” says Hein.

Later in the film, Amazonians throw tomahawks at Fawcett and his son as they run through the jungle. “Those tomahawks were never in the footage,” he says. “We had just an idea of them until days before we finished the mix. There was also a jaguar that comes out of the jungle and threatens them. That also came in at the last minute.”

While Hein created new sound elements in his edit suite next to the dub stage, Gray was able to join him for critique and collaboration before those sounds were sent next door to the dub stage. “Working with James is a high-energy, creative blast and super fun. He’s constantly coming up with new ideas and challenges. He spends every minute in the mix encouraging us, challenging us and, best of all, making us laugh a lot. He’s a great storyteller, and his knowledge of film and film history is remarkable. Working with James Gray is a real highlight in my career,” concludes Hein.


Jennifer Walden is a New Jersey-based audio engineer and writer. 

Behind the Title: Harbor Picture’s head of dailies Jamie Payne

COMPANY: Harbor Picture Company (@HarborPicture)

CAN YOU DESCRIBE YOUR COMPANY?
A NYC-based post house offering a mix of artists and technical specialists collaborating to a common goal.

WHAT’S YOUR JOB TITLE?
Head of Dailies

WHAT DOES THAT ENTAIL?
In the dailies department there are many bases that need to be covered, and each is of equal importance. Guaranteeing the integrity of the acquired digital material, while maintaining the vision of the cinematographer is key. An in-depth knowledge of color and workflow helps to understand the technical and artistic language that occurs between the lab, the cinematographer and the production as a whole.

Our day-to-day tasks include initial acquisition, color timing, archival, asset management and tracking, and old-fashioned human interaction. “Guardian of the image” may be an esoteric title, but one I feel that encompasses what we aim for and deliver.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
A skilled team of operators now have ownership of an awfully large amount of digital material. Digital acquisition has always been about flexibility, speed and convenience (not to mention ongoing technological advancement). And not necessarily artistic vision and longevity, which we aim to help provide.

WHAT’S YOUR FAVORITE PART OF THE JOB?
The responsibility for the camera original material, a camera card or hard drive is treated with the same respect as an unexposed reel of film. I enjoy the demands of being answerable to all the various departments within production and post production.

WHAT’S YOUR LEAST FAVORITE?
Installing yet another daily Adobe Acrobat Reader update.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
Either looking at the material for the first time or Saturday mornings.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I studied photography in college and would have almost certainly continued on that path if I hadn’t watched A Matter of Life and Death (1946).

I worked as a photographer’s assistant for still life/food photography working on medium 5×4 and 10×8 formats, which paid for my entry into reportage photography. How many people can say that they have shot 10×8-inch polaroids for exposure tests?!

WHY DID YOU CHOOSE THIS PROFESSION?
See above. A Matter of Life and Death (starring David Niven) watched on a heavily used VHS opened my eyes to things that were possible. It was quite startling.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I started as most people do in our industry, as an intern (or a runner in the UK) making tea, etc. As soon as I stepped into a telecine suite I knew immediately I had to color time. That was almost 18 years ago. I was simply in the right place at the right time when asked to create a dailies department many years ago in London. It was a fortuitous meeting that let to a position that has continued to this day.

Billions

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
The last five projects that I have worked on The Wizard of Lies, Beat-Up Little Seagull, Billions, Limitless and Paterson. It’s a nice balance of episodics and features, with some great performances and spectacular photography.

WHAT IS THE PROJECT (OR PROJECTS) THAT YOU ARE MOST PROUD OF?
Most projects I have worked on have featured a little surprise that made me smile, whether technically or aesthetically. I once had an Oscar-winning DP express gratitude after they flew 2,000 miles round trip to check the dailies due to an issue I raised and caught.

I once used a trick an assistant editor taught me that mightily impressed a senior editor.

Each moment in its own way is very rewarding, but I must say that color timing the IMAX negative for The Dark Knight Rises was pretty special.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
The internal combustion engine, modern plumbing and the Internet.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
A smidgen of Instagram.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
Not anymore now I’m immersed in dailies. When I color-timed for finishing, clients and I always listened to music.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I honestly don’t think that work is stressful. It’s stressful if the technology or client expectation is misunderstood or misinterpreted, which isn’t an option in a digital lab. I become stressed when I’m not busy, and that’s the truth.

In my spare time I hike and appreciate immensely this wonderfully beautiful country.

 

Behind the Title: Harbor Picture’s senior editor Chris Mackenzie

NAME: Chris Mackenzie

COMPANY: Harbor Picture Company (@HarborPIcture)

CAN YOU DESCRIBE YOUR COMPANY?
Harbor Picture Company is a New York-based post house known for our flexibility with workflows and our relationships with clients. We offer a complete range of post services — from offline editorial to Dolby Atmos audio mixing.

WHAT’S YOUR JOB TITLE?
Senior Editor

WHAT DOES THAT ENTAIL?
Digital conform, visual effects, titles and some problem solving. My work usually comes under the umbrella of final picture finishing. I’m responsible for getting the picture components to the final state for presentation, be that theatrical, broadcast television or Internet streaming.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
It would surprise most people that I do a lot of VFX work. Often, this happens to be last-minute fixes to address production issues that were overlooked. I am also often asked to address problems flagged during the quality control review of the final deliverables — a little unexpected visual effects work is usually necessary to get the project accepted for its final distribution.

WHAT’S YOUR FAVORITE PART OF THE JOB?
I like being able to fix a problem quickly and easily, or at least offer a creative solution to an issue. There are times — especially on lower budget productions — where a little digital paint or simple VFX compositing can resolve a big issue that may have resulted in a shot or scene being scrapped from the edit.

Chris Mackenzie at work.

WHAT’S YOUR LEAST FAVORITE?
The dreaded recut is my least favorite. This often means that work that was complete and approved now needs to be dismantled and redone. Unlocking an edit (changing the content of a project) used to be a rare event in post production. In recent years, however, having some continued editorial right up to the last minute before delivery has become more and more common.

The tools are a lot faster now. And, generally, operators are a lot faster and more flexible, but projects continue to push the envelope with major editorial revisions sometimes being made very close to the deadline for completion.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
Probably mid-morning — I feel best after I’ve had my first cup of coffee, and I know I’ve got most of the day ahead of me. There’s rarely a 10am deadline, so at this point in the day I can concentrate on completing the work without the sense of being rushed to deliver a file.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
At the same time I got interested in television and picture post, I was interested in art and photography. I considered going back to school to pursue an MFA related to digital image making.

WHY DID YOU CHOOSE THIS PROFESSION?
I was working as a bicycle messenger in Vancouver when I first graduated college. During this time, I made a few deliveries to some burgeoning post facilities and caught a glimpse at what I thought were interesting jobs. I imagined that those editors and colorists were creating the fanciest Super Bowl commercials and high-end music videos on a regular basis. Working indoors on an online editing system seemed like a much better (at least drier) career path for me.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
Close to 20 years ago — which seems hard to believe — I saw early versions of Photoshop and Avid editing systems and was amazed by the capability of these technologies. I knew there was a great future for developments in this area and it was something that immediately interested me — for a brief period I was interested in other aspects of filmmaking, but it was post that really captivated me.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Our team at Harbor just completed a few television series: The Knick, The Girlfriend Experience and Billions. We also recently completed Spike Lee’s feature Chi-Raq. Recently, we’ve adopted a divide and conquer strategy at Harbor — there are three of us working in Digital Conform and we usually share the duties of putting these projects together.

Gone With the Bullets

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
There are two. The first would be Gone With the Bullets, an epic 3D feature that was released to great fanfare in China. It was my first time conforming in 3D, and it was a massive project — thousands of cuts and hundreds of visual effects.

It was a huge challenge and steep learning curve, but during its run in China it received great reviews for its 3D quality. The second is Pan’s Labyrinth. This was one of the first films I had the opportunity to work on. I was inexperienced and really had to stretch my abilities to accomplish what was needed to finish the project, but the fact the film turned out so well really gave me a lot of confidence.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Autodesk Smoke, Blackmagic Resolve and the Apple PowerMac.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Facebook and a little Instagram

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
Yes and no.

CARE TO SHARE YOUR FAVORITE MUSIC TO WORK TO?
I listen to a lot of NPR — occasionally it will be their music stream, but more often than not I listen to the current affairs or news programming. I like to feel like I’m learning something while I’m working away.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
To de-stress I’ve gotten back into cycling in a serious way.  Unfortunately, I recently had a cycling accident and am currently recovering from a broken hip, so it might be time to find a new hobby for a while.

I find being physically active and part of a demanding sport helps me to focus and increase my energy levels at work. It took some time management to find a schedule that works, but it’s definitely been beneficial and a nice way to balance the work I do in the office.

 

 

Harbor Picture Company opens theatrical sound mixing division

Harbor Picture Company has launched Harbor Grand, a multi-million-dollar studio servicing audio mixing for theatrical projects. This comes after a year of planning and construction and with support from the Empire State Development.

Harbor Sound is the sound post division of Harbor Picture Company, which offers dailies, offline editorial, VFX, picture post, sound post, digital deliverables and commercial production services. Harbor occupies 50,000 square feet in SoHo New York and offers talent, technical infrastructure and engineering to the feature film, television and commercial industries.

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The new facility features 26-foot ceilings, a private lounge, editorial space and kitchen. The mix stage itself is equipped to mix Dolby Atmos, IMAX and 7.1 and 5.1 surround sound with 2K, 4K and 3D projection capability. They use a Euphonix System 5 console

According to Harbor, this opening not only represents the most significant expansion of a post company since the New York State Post-Production Tax Credit was strengthened in 2012, it is also the largest sound mixing stage of its kind in New York.

“Under Governor Cuomo’s leadership, a strengthened Film Tax Credit Program has made New York a top destination for both production and post-production work, creating job opportunities for thousands of people and contributing significantly to the state’s economy,” says Empire State Development president/CEO/Commissioner Howard Zemsky. “Harbor Picture Company’s expansion, from 30 to 65 employees helps demonstrate the industry’s continued growth in New York State.”

“Having a mix stage of this level in New York City will be a powerful tool to continuously attract Hollywood-level features and TV shows to complete their post-production in New York City. We now have the infrastructure, the technology and the experience to deal with projects at a premier level.” says Harbor’s president, Zak Tucker. “As larger productions choose to locate the post-production process in New York, a significant number of artistic, technical and management jobs will become available in the city, supporting the idea that New York is a primary destination for post production.”

To encourage Harbor Sound to increase employment at its headquarters in Manhattan, Empire State Development. has offered $550,000 in performance-based Excelsior Jobs Program Tax Credits, which are tied directly to the creation of new jobs in the post-production industry. This specific incentive complements the impact of the legislation that Governor Cuomo signed in 2012 to strengthen the State’s existing post incentive program in order to attract additional film post activity to all regions of New York State.

This law increased the percentage of tax credits available for projects that did not film in New York but qualify for credits for post-production work done in New York State. The qualified film and television post-production credit increased from 10 percent to 30 percent in the New York metropolitan commuter region.

Harbor’s facility expansion is part of an emerging trend of private companies boosting the creative economy by looking to New York as a home for their content-driven enterprises. For instance, Amazon’s Alpha House and Netflix’s Orange is the New Black are both being filmed at Kaufman Astoria Studios, while YouTube opened a 20,000-square-foot facility in Chelsea. New York’s largest film studio, The Weinstein Company, also struck a deal with Netflix, bringing $60 Million into NYC to produce a sequel to Crouching Tiger, Hidden Dragon.

The A-List: Director Cary Fukunaga on posting ‘Beasts of No Nation’

By Iain Blair

Writer/director/camera operator/cinematographer Cary Fukunaga has literally been one of the hottest — and coldest — directors in the business, thanks to making shorts, docs and movies everywhere from the Arctic Circle to Haiti and East Africa.

Now he’s hot again, in every sense of the word, having written/directed/produced and shot the harrowing new war drama Beasts of No Nation, set in the sweltering lands of West Africa, and shot in Ghana. It tells the story of Agu (Abraham Attah), a young villager, whose happy family life and childhood are shattered when army troops from the capital city arrive to squelch a rebellion against the country’s corrupt regime.

After seeing his father and brother killed, he escapes to the forest where he’s discovered by a company of young rebels led by the charismatic Commandant (Idris Elba). There, he undergoes a gauntlet of harsh treatment, initiation rituals and fiery speeches from the Commandant, and as the ragtag army sets off on a series of battles, Agu is eventually promoted from ammo carrier to rifle-toting soldier, gaining respect but losing his innocence as he’s turned into a killing machine. The film is available exclusively on Netflix.

Writer Iain Blair and filmmaker Cary Fukunaga.

Writer Iain Blair and filmmaker Cary Fukunaga.

I spoke with Fukunaga — whose credits include his acclaimed feature-writing and directing debut Sin Nombre, Jayne Eyre and the first season of HBO’s crime drama True Detective (for which he won the Emmy for Outstanding Directing for a Drama Series) — about making the film, post and his respect for film sound.

Did you have a vision for how this film would look?
Yes, and it’s the film I wrote (laughs), but I don’t really visualize my films ahead of time. I’m not even sure about the music, so I start off definitely from a writing perspective and when scouting locations I start getting visual ideas. Obviously, I do have some visual ideas in my head or I couldn’t write it, but it’s such a work in progress… every step of the way. It was such a hard, brutal shoot — the hardest I’ve ever done, anywhere, and I’ve shot in some very difficult places around the world.

So post must have been a very calm respite after the grueling locations of West Africa?
I like post. It’s where you really make and finish the film, but I’m so used to being very hands-on in all the other production departments — writing, directing, camera operating and so on — that by the time I get to post, it feels very strange to be relegated to the role of almost an observer. And the rhythm is always fits and starts. You get in there and it seems like nothing’s happening for weeks, and then finally you make some progress, and then that all repeats. So post is definitely not my favorite part of the whole process, just because of the sheer time it all takes and how much I’m not hands-on anymore.

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How did it work in the editing room with two editors —Mikkel E.G. Nielsen (A Royal Affair) and Pete Beaudreau (All Is Lost, The Gambler)?
Originally, a third editor, Elliot Graham (Steve Jobs, Milk) was on the shoot with us, but he hurt his back and had to drop out. We had roughly 75 hours of raw footage from Ghana, so Mikkel took over and had to completely learn all that footage again and then started re-cutting and re-assembling the film a couple of months after we wrapped. That was at Outpost Digital in New York. Then after five months on it, he had to leave for another job, so Pete took over — and we thought it would just be clean up by that point, but he ended up working on it for another five months. If you think of Mikkel’s work as hammering out the shape of the sword, Pete put on the fine edge to every scene.

So post was pretty long?
Yes, we did it all at Outpost. We were there almost a year, and we started on post while we were shooting in Ghana. Our associate editor, Victoria Lesiw, started off as an assistant editor in Ghana and was there all the way through and completely invested, from production to the very last days of post. We lost people along the way, so post wasn’t at all easy; people had to bow out because of previous commitments. We lost our original sound designer just weeks before we started our mix, and we had to completely redo it all in a very short time — just five weeks, which wasn’t really enough for the film — but we were able to create something out of nothing.

Although the film feels like cinéma vérité, obviously you used VFX, especially in all the battles scenes. How many visual effects shots are there?
Quite a few. There was a lot of clean up, and a lot of artifacts of war — bullet hits on walls, blood squibs — which we didn’t have time to do as usual physical effects, as well as muzzle flashes and augmenting explosions and so on. Then we had the big infra-red sequence. I’d written the screenplay back in 2006, and I loved the infrared sequence Oliver Stone and Rodrigo Prieto had done in Alexander, so I always wanted to do it. I wanted to shoot some infrared in True Detective, but we just couldn’t find the film stock — we just did it as a VFX sequence for this. Siren Lab did most of them,  but The Artery also did some shots.Beasts of No Nation

Sound and music both play a huge role in this, right?
I actually think they’re more important than the visuals. I had this great video class teacher in high school, who said, “People will forgive bad visuals, but they’ll never forgive bad sound,” and that’s so true. If there’s something wrong with the sound, it can be the most grating part of watching any kind of media, but if you do it right you can really elevate the storytelling. Look at what Walter Murch did…  and Orson Welles, who came from radio. They really understood how much sound can tell a story, and have been a big influence for me. So when I do sound design, sometimes I’ll do entire sequences where that’s driving the entire story. We did all the mixing at Harbor Picture Company in New York. (The mix crew at Harbor included supervising sound editor Glenfield Payne, re-recording Mixer Martin Czembor, assistant sound re-recording mixer Josh Berger and re-recording mix technician Ian Gaffney Rosenfeld. The film was mixed using a Euphonix S5 Fusion console. The Euphonix was controlling 2 Pro Tools systems running Pro Tools 11.)

Where was the DI?
At Deluxe in New York with Steve Bodner (who uses DaVinci Resolve), the same colorist I used on True Detective. He’s the guy I go to for anything. We did some looks before I left, but more than anything we just get in the room and figure it all out. I love the DI, and by that stage I feel much more hands-on. We did a lot of work because the whole issue with digital is that you spend so much time trying to get back to a film look. So you sit there, massaging and massaging it, trying to get the color space right, and every film stock’s different.

Cary Fukunago shooting with the Arri Alexa.

Cary Fukunago shooting with the Arri Alexa.

I really love old photo journalism reversal stock. If I could have shot Sin Nombre on Kodachrome I would have — and part of that is the unforgiving nature of reversal stock. There’s no reciprocity there. Now, six, seven years later, shooting with the Arri Alexa, I was again looking how to approximate that slightly under-exposed reversal look for this film. I found that by shooting one stop under —and bringing in a lot of cyans and the blacks, but keeping the saturation up, and then figuring out how to make all the greens, yellows and browns really pop — it gave me the look I wanted.

There’s a lot of talk that you’ll do another TV project, a miniseries based on Caleb Carr’s novel The Alienist. So what’s next?
I’m definitely involved with The Alienist, but I may do something else before then. It depends on the timing.

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

Behind the Title: Harbor’s Roman Hankewycz

NAME: Roman Hankewycz

COMPANY: New York City’s  Harbor Picture Company @harborpicture

CAN YOU DESCRIBE YOUR COMPANY?
Harbor Picture Company is a high-end post-production and production house. We offer post production services across the full spectrum of picture and sound disciplines for feature film, television and commercial projects. Specifically our services include digital dailies, offline editorial, VFX, DI/color correction, sound editorial, mix and ADR and digital and tape deliverables, as well as an accomplished commercial production department.

WHAT’S YOUR JOB TITLE?
Colorist

WHAT DOES THAT ENTAIL?
Once the edit is locked the project enters the finishing phase, which includes color correction among other things like sound mixing, titling, etc.  As a colorist you work with the director and cinematographer to come up with a “look” for the project. We watch the film and discuss it in terms of color; there may be color motifs that need to be highlighted or specific instances where something needs to be accentuated through color.  Sometimes we share photos or refer to other films that served as inspiration during production to aid the dialog. Using all of that information, we develop the look and then work through the film to create consistency between shots and scenes. The colorist is also one of the last people to work on a project, so part of the job is catching and fixing errors that may have fallen through the cracks so the final deliverable is as perfect as possible.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
It may be surprising to consider that it’s a very people-oriented job. You spend your days in very close quarters with the filmmakers whose projects you’re working on. Each client and project is different, and you need to be able to clearly communicate very subjective concepts while also creating a friendly environment that makes the workday enjoyable.

Public Morals 2 Public Morals

WHAT’S YOUR FAVORITE PART OF THE JOB?
Without question it’s making beautiful images [like the ones above for Public Morals]. Nothing beats the satisfaction of seeing a beautiful piece and knowing that I had a hand in making it look that way.

WHAT’S YOUR LEAST FAVORITE?
Sitting in a dark room all day limits your ability to develop a nice tan.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
What kind of question is this? 11:52am! (Editor’s Note: We like that time of day too. Right before lunch, yet still officially morning. Good pick.)

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I’ve wondered about this myself.  I’m not sure, but I’d like to build furniture or own a surf shop on some tropical island.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
After college I set my sights on the film industry, although in hindsight I didn’t know anything about it.  In my first few years of interning and working, I was lucky enough to meet and learn from a few gracious and talented people. I tried my hand at many roles in post production but with time I gravitated toward online editing and, finally, color correction specifically. I was really drawn to the power of being able to manipulate the image, but also to the craftsmanship involved. Every project is an opportunity to refine your craft, to experiment with new looks and techniques, and in this way the work is always challenging and therefore compelling.

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HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
It was a few years into my career in post production that I decided to specifically pursue being a colorist.

 

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Public Morals is a show currently airing on TNT, Adderall Diaries (pictured right) is a film I worked on that premiered at the Tribeca Film Festival in April, and I Smile Back is a feature film to be released this month.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
In addition to the ones I mentioned we can include I Smile Back, which just released it’s official trailer (below) and will be coming out soon.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I don’t have a specific project that I’m most proud of. I’m proud of any project where the grade is solid and the client is happy… those are the most important things to me.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Phone, tablet, TV.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I’m very bad at social media.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
I have music on almost all the time.

CARE TO SHARE YOUR FAVORITE MUSIC TO WORK TO?
It’s easy to get tired of even your favorite music when it’s constantly playing in the background, so I’m always switching it up and choosing playlists that I haven’t heard of.  I surprise myself with days filled with bluegrass or island jams. But if I’m by myself and getting pumped up for the weekend I go with the classics… GNR.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
It can get stressful, but I love the work and in the end I’d take my bad days over other people’s good days. That and a cold beer keeps me on an even keel.

Behind the Title: Harbor Picture Company colorist Joe Gawler

NAME:  Joe Gawler

COMPANY:  New York City’s Harbor Picture Company (@harborpicture)

CAN YOU DESCRIBE HARBOR?  
Harbor Picture Company is a large, artist owned-and-operated post production studio in NYC. Harbor is an awesome place to work.

WHAT’S YOUR JOB TITLE?
Senior colorist and partner

WHAT DOES THAT ENTAIL?
I spend the majority of my day in my theater collaborating with filmmakers. There’s a technical aspect of balancing shots to match one another, but, most importantly, there’s a level of taste and artistry that the colorist needs to help bring the most out of an image.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
It’s a full-time job, and then some. Successful colorists are always there for their clients. I’ve worked countless weekends and 24-hour sessions.

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WHAT’S YOUR FAVORITE PART OF THE JOB?
The relationships I’ve developed with amazing cinematographers and directors. It’s very humbling and motivating to have a filmmaker seek you out to help complete their vision.

WHAT’S YOUR LEAST FAVORITE?
When there are too many cooks in the kitchen and a beautiful image gets compromised for no good reason. The ability to manage a room full of clients successfully can be what separates a good colorist from a great colorist.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
Getting to Harbor in the morning on day one of a new show or film.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Something creative that involves collaborating with a team and working on my craft.

WHY DID YOU CHOOSE THIS PROFESSION?
I’ll never forget my first experience editing a project for school. I was in the editing suite for 16 hours and it felt like one hour. That’s when I knew post production was for me.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I was fortunate to assist a very talented telecine colorist early in my career. He made the whole process so much fun that I couldn’t imagine doing anything else.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Magic Mike XXL, Ricki and the Flash, The Knick.

Ricki and the Flash

Ricki and the Flash

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
Well, I may be best known for Midnight in Paris, but I have also graded three films that won best cinematography at Sundance and have helped restore many, many classic films for The Criterion Collection.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
iPhone, DaVinci Resolve, my car.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Facebook and Instagram. DPs, such as Reed Morano, Tas Michos and Chivo, are posting amazing images daily. Truly inspirational.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
Absolutely.

CARE TO SHARE YOUR FAVORITE MUSIC TO WORK TO?
It depends on who I’m working with. Picking the music for the day is usually the first decision the clients and I make together.

THIS IS A HIGH STRESS JOB. WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Quality time with my family is precious and all too rare. So we try to get away on cool trips, somewhere international whenever possible.

The A-List: Peter Bogdanovich on directing ‘She’s Funny That Way’

By Iain Blair

The legendary director/writer/producer/actor/author and film historian Peter Bogdanovich hit Hollywood like a tornado when his 1971 masterpiece, The Last Picture Show, scored eight Oscar nominations, winning two of those golden boys. He followed that up with more hits, including What’s Up, Doc? and Paper Moon. The latter won the Oscar for then 10-year-old Tatum O’Neal.

Since those heady days, Bogdanovich has had his ups and downs, and he’s largely spent most of the last 15 years working in TV, both behind and in front of the camera — he was a regular on The Sopranos and also directed an episode. Now he’s back with a new film, She’s Funny That Way, a screwball comedy about the interconnected personal lives of the cast and crew of a Broadway production, starring an ensemble cast that includes Jennifer Aniston, Owen Wilson, Will Forte, Kathryn Hahn, Rhys Ifans and Imogen Poots.

Peter Bogdanovich and writer Iain Blair during their recent meeting in LA.

Peter Bogdanovich and writer Iain Blair during their recent meeting in Hollywood.

I met with the director — whose films include Mask, Texasville and Noises Off… — recently in Hollywood to talk about making the film, the challenges of posting it, and his take on cinema today.

The film was co-produced by some real heavyweights, including Wes Anderson and Noah Baumbach, and in addition to the A-list cast, you also got cameos from Quentin Tarantino, Tatum O’Neal and Joanna Lumley. Did you just call them up?
Wes and Noah are good friends and helped me get this made, and with Quentin I called him. But he’s the most impossible person to reach on the phone, and I usually leave many messages before he finally calls back, but this time he just picked up the phone, said “yes” immediately and that he’d love to be in a Peter Bogdanovich film.

You shot and posted in New York?
Yes. We had a great time shooting it in New York. And while I like post and all the editing, I think my favorite part of the whole filmmaking process is the shoot itself and working with all the actors. I don’t like preproduction, and in post you can get into problems — you disagree with the producer or you don’t see eye-to-eye with the editor and you have arguments. So it can be very frustrating sometimes.

Was the post on this frustrating?
(Laughs) No, not as bad as some films I’ve done! We did all the post work at Harbor Picture Company in downtown New York. They’ve worked on a lot of great movies, like The Hundred-Foot Journey, as well as TV shows like Game of Thrones, and they did all the sound editorial, ADR and mixing as well as the DI. They did a great job. Robert Hein was our supervising sound editor. [Bobby Johanson was the ADR mixer and the ADR recordist was Mike Rivera.] For the DI they worked with the DP Yaron Orbach, as it was pretty straightforward. [Joe Gawler was the main colorist, with additional help from Roman Hankewycz. They both used DaVinci Resolve.]

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You used two editors on the film: Pax Wassermann, who has cut a lot of documentaries, including “Knuckleball!, and Nick Moore, who cut Notting Hill, About a Boy and Along Came Polly. Tell us about that relationship and how it worked?
Well, Pax was in New York and then we hired Nick when we came out to LA to finish the film, so they didn’t work together at all. Pax was there while we were shooting and did virtually the whole picture. So we had that cut, and we felt it needed a bit more work, and I was coming out to LA, so it just made sense to get another editor then, and we made some changes and shifted stuff around.

I quite enjoy the editing, but I shoot my films so they’ll cut a certain way. So the only thing that’s really left to argue about is what scenes should be in or out. Sometimes you win the fight, other times someone has a better point.

Did you get into fights this time in post?
Not with the editors. The producers disagreed a little bit, but it all worked out okay in the end. It’s just a natural part of the process.

There are a few visual effects shots in the film. What was involved?
There aren’t many… mainly those super-impositions at the start when Imogen’s talking about Tracy and Hepburn, and Bogart and Bacall. They were all done by The Molecule, which is based in New York and LA. Luke DiTommaso was the VFX supervisor. I’m not that big on VFX work, but they did a great job. [The Molecule provided around 15 shots. Effects created include set alterations, such as sign replacements, speed ramps, split screens and one shot where they connected a guy’s fist to someone’s face. The mostly used Nuke and Mocha Pro.]

You’ve been doing this a long time. What are the biggest changes in post — and movies in general — that you’ve seen since you started?
I figured out I’ve been in showbiz for 60 years, since 1955, and digital has been the biggest change. That’s made post – and shooting – so much easier, and faster, so I’m a fan. Digital editing systems were a true revolution.

I’m not a fan of all the superhero comic book movies they make now. They bore the shit out of me! If you’ve seen one, you’ve seen ‘em all, but Hollywood’s always been, “monkey see, money do.” Remember when Jim Cameron made Titanic? Everyone said it would be a disaster, with this huge budget of $150 million. “What’s he doing? He’s crazy! Out of his fucking mind!” Now, that’s Hollywood’s solution to everything — spend $150 million on some cartoon superhero. That’s why I don’t go to the movies much anymore. There’s so few I want to see, which is a bit sad.

Check out the trailer for She’s Funny That Way:

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

Kevin Vale to head feature post at Harbor Picture Company

New York-based Harbor Picture Company has added Kevin Vale as its director of motion picture post production. He has over 51 feature film credits and a decade in the film industry.

Prior to joining Harbor, Vale worked as a digital intermediate producer on a range of feature films, including Triple 9 (2015), Freeheld (2015), Noah (2014) and Lee Daniels’ The Butler (2013). Vale was also responsible for overseeing the DI post on Wes Anderson’s Oscar-nominated film Moonrise Kingdom in 2012 as well as Darren Aronofsky’s Oscar-winning Black Swan in 2010.

“His experience with high-end feature films is a perfect fit for Harbor right now. Kevin will be the driving force behind the picture post department and his skills will be a great addition to all of our post-production services,” says Zak Tucker, president, Harbor Picture Company.

In his role as director of motion picture post, Vale will focus on creating seamless transitions with the array of services offered within Harbor’s DI department including transcoding, conform, VFX, color and deliverables.

“Recently, Harbor has also become the largest post-sound facility in New York, and I’m looking forward to being able to deliver on projects where all post services are offered here at Harbor,” says Vale.

Vale knows Harbor well, having previously collaborated with Harbor’s head colorist Joe Gawler on projects like Darjeeling Limited (2007), as well as working with Harbor’s head of post-production Darrell Smith, on Lee Daniel’s The Butler (2013).