Designing a precise color workflow during pre-production can save motion picture projects time and money. The larger and more complex the project, the more the potential for savings. Digital imaging technician Francesco Giardello (Pan, Game of Thrones, Ben-Hur, Thor: The Dark World) can accurately be described as a pioneer in the use of the Academy Color Encoding System on-set. He recently designed a set-to-post color workflow using ACES for the movie Life, directed by Daniel Espinosa and starring Jake Gyllenhaal, Rebecca Ferguson and Ryan Reynolds. This space thriller from Sony tells the story of the crew aboard the International Space Station and what happens when they encounter extra-terrestrial life in the form of an organism they name Calvin. On Life, Giardello worked closely with cinematographer Seamus McGarvey ASC BSC. The main cameras used were Arri Alexa 65s although, according to Giardello, several other cameras were also utilized. I spoke with Giardello about the color workflow used on Lif
Extravaganza, a new virtual reality short film satire directed by Ethan Shaftel, leveraged Maxon Cinema 4D software and its CV-VR Cam dedicated plug-in for rendering VR content to streamline the production workflow. The film, which stars Paul Scheer (The League, 30 Rock), John Gemberling (Broad City, Santa Clarita Diet), Will Greenberg (Wrecked), and Annie Tedesco (Bella and the Bulldogs), debuted to positive acclaim at the Tribeca Film Festival’s Immersive Virtual Arcade and will make its European premiere during the Cannes Film Festival May 17-28 at the Marche du Film Next VR program.
Fullscreen Media is using Facilis TerraBlock shared storage systems to improve collaboration and workflows between its remotely located teams. A global network of content creators and brands focused on creating engaging entertainment across social media channels and its own subscription service, Fullscreen Media creates and supports content over a wide range of platforms and clientele from offices in Los Angeles, New York City, Atlanta, and Chicago.
French post-production facility, VSI Paris / Chinkel SA has installed a Telestream Vantage media processing and workflow automation platform to streamline operations. Throughout the installation, Telestream worked closely with its local channel partner, Videlio-Cap'Ciné.
FireFly Cinema now provides direct integration with axle Gear from axle Video. The integration enables on-set color graded images and metadata from FireFly Cinema’s FireDay dailies management tool to flow seamlessly into the axle media management system.
Firefly Cinema has unveiled V6 of its comprehensive color grading software suite which includes: FirePlay (for playback), FireDay (for digital dailies) and FirePost (for color finishing). Used on hundreds of feature films (La La Land, Planetarium, The History of Love, Belle and Sebastien), FireFly Cinema provides an integrated and production-wide approach to managing color workflows on-set, through dailies and post-production.
International production and post group Umedia has opened a facility in Vancouver. The company has four other facilities around the world. The Vancouver office has installed a Baselight Two grading and finishing suite.
WCPMedia Services has announced improvements to its cloud-based media management platform to help television and motion picture producers better store, manage and share assets throughout the production cycle. New features and enhancements address core production activities including dailies management and transcoding, review and approval, and distribution to post-production partners and end-users.
Post house Colortime of Burbank, California has installed a Dalet Galaxy platform to provide workflow automation and media asset management.
Leslie Carney has more than twenty years of experience in television post-production. Working as post supervisor for MTV's Stranded with a Million Dollars, which will air February 21, she recently delivered 10 one-hour episodes. An efficient workflow has rarely been more critical. “The show was challenging,” said Carney. “It was shot over 40-days using 14 different types of cameras, including RoboCams and 4K Drones. We had to deal with a massive amount of media and all kinds of frame-rates and codecs.”