Color Grading

MTI Film Expands to Support HDR

Tue, 02/28/2017 - 11:18 -- Nick Dager

MTI Film has completed a major expansion of its Hollywood facility designed to accommodate growing demand for post-production services and support for high dynamic range content. The expansion includes the addition of two new color-grading suites and an editorial finishing suite, all HDR capable.

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The Artistry of Jungle Book: Part 1

Mon, 02/27/2017 - 13:33 -- Nick Dager

Director Jon Favreau’s The Jungle Book won this year’s Oscar for Best Visual Effects. A Walt Disney Picture, the movie is unique because the only live action character, the boy Mowgli, was shot on bluescreen while everything else was computer-generated. The visual effects team included key talent from Technicolor and its subsidiary, the Moving Picture Company. In part one of our five-part series, Adam Valdez, visual effects supervisor with MPC explains how teamwork, talent and a pursuit of excellence combined to create a movie that has been widely acclaimed for its artistic and technological accompaniments.

Colorist Bryan McMahan Joins Roundabout Entertainment

Thu, 02/23/2017 - 13:05 -- Nick Dager

Veteran digital colorist Bryan McMahan has joined Roundabout Entertainment. A frequent collaborator of Terrence Malick, McMahan has colored six films for the director dating back to the 2005 release The New World and including Weightless, slated for release next year. He has also worked with directors William Friedkin (Killer Joe), Robert Towne (Ask the Dust), Gore Verbinski (The Ring) and John Woo (Face/Off).

Hula Post Develops VR Workstation

Thu, 02/23/2017 - 09:24 -- Nick Dager

Hula Post, Hollywood, has developed an all-in-one workstation for virtual reality content creation. The workstation features stitching, stabilization, editorial, visual effects, titling, color correction, finishing and playback. It is available for lease on a short-term or long-term basis, and comes with the same 24/7/365 technical support and service that Hula provides for editing systems, media storage and networking projects.

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Tarde Para La Ira Named Best Film

Thu, 02/09/2017 - 12:44 -- Nick Dager

The thriller Fury of a Patient Man (Tarde Para La Ira) won a plethora of awards at Spain’s Goya Awards, including the award for Best Film. The film, directed by newcomer Raul Arevalo and starring Antonio de la Torre, Luis Callejo, Ruth Diaz and Raul Jimenez, was finished at Madrid post-production facility Free Your Mind, which carried out the conforming, color grading and finishing using an SGO Mistika.

Filmworkers Finishes Garth Brooks Concert

Tue, 01/24/2017 - 11:49 -- Nick Dager

Filmworkers, Nashville, provided editorial and post-production finishing services for Garth Brooks: Yankee Stadium Live, a two-hour concert special that recently debuted on AT&T’s Audience Network. Produced and directed by Jon Small, the special, which was captured, finished and broadcast in 4K and documents the superstar musician’s two sold out shows from last summer. It was the first ever concert for a country artist at Yankee Stadium, and Brooks’ first appearance in New York City in 19 years. Filmworkers’ Adam Little edited the show; colorist Jimmy Cadenas applied the final color grade.

La La Land Releases in EclairColor in France

Mon, 01/23/2017 - 13:05 -- Nick Dager

Ymagis Group today announced the EclairColor release of Liongate’s La La Land, which opens in cinemas across France January 25. Distributed by SND - M6 Group and directed by Damien Chazelle, La La Land, starring Ryan Gosling and Emma Stone, will be available exclusively in EclairColor in the following cinemas: Gaumont Champs-Elysées (Paris, 8th arrondissement), Pathé Wepler (Paris, 18th arrondissement), Les Confluences (Varenne-sur-Seine) and Le Sirius (Le Havre).

Creating an ACES Workflow

Mon, 01/16/2017 - 10:41 -- Nick Dager

Award-winning cinematographer Theo Van De Sande ASC was an early supporter of the Academy Color Encoding System, using version 0.2.2 on civil war drama Deliverance Creek in 2013, which was nominated for the ASC Award for Television. Since then he has been a staunch supporter, using ACES on numerous TV shows and pilots. When he was offered the chance to shoot Bad Santa 2 for Miramax, he turned again to ACES for his color-processing pipeline.

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