Workflow

Fast Work in Brooklyn

Tue, 06/28/2016 - 11:55 -- Nick Dager

Horace and Pete is a 2016 web series created, written, and directed by Louis C.K. A distinctive feature of the series is frequent references to highly topical current events during barroom discussions. This was made possible by having less than a week between the production and release of the episodes. It was also one of the reasons that the VariCam 35s were chosen for the show, according to post-production technical advisor Troy Thompson a longtime C.K. collaborator and colorist at New York’s Running Man.

Panavision Integrates Cooke’s /i Technology

Wed, 06/15/2016 - 11:38 -- Nick Dager

Panavision has joined the growing list of companies to support Cooke Optics’ /i Technology , pledging to build support for Cooke Optics’ /i Technology protocol into its portfolio in the future. Cooke's /i Technology is an open metadata protocol that enables film and digital cameras to automatically record key lens data for every frame shot and provide it to post-production teams digitally.

Captain America: Workflow Lessons

Mon, 05/16/2016 - 12:21 -- Nick Dager

In the spring of 2015, Trent Opaloch began a huge undertaking as director of photography on a new entry in the Marvel Cinematic Universe. The bar is set high – as a production unit, Marvel has been a smashing success – but one advantage is the solid workflow that Marvel has developed over the course of a dozen feature films.

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Technicolor Masters Captain America

Wed, 05/11/2016 - 15:13 -- Nick Dager

Following on the heels of their 2014 hit, Captain America: The Winter Soldier, directors Anthony and Joe Russo have done it again with the Marvel-Disney franchise blockbuster Captain America: Civil War. From a script written by Christopher Markus and Stephen McFeely, which blends dramatic spectacle with legit emotion and humor, the filmmakers once again turned to cinematographer Trent Opaloch, who shot The Winter Soldier. The Technicolor color finishing team led by senior supervising finishing colorist Steve Scott, worked with Opaloch, the Marvel team (producer Kevin Feige, and executive producer Victoria Alonso), and the Russos to provide final color-grading, digital intermediate services, mastering for a wide array of HDR theatrical deliverables, and HDR home masters.

Nice Shoes Installs Quantum Xcellis Storage

Thu, 04/28/2016 - 11:58 -- Nick Dager

New York-based production and post-production studio Nice Shoes has deployed Quantum's new Xcellis high-performance, shared workflow storage. Working with Quantum partner Alliance IT, the creative house incorporated Xcellis into its environment to provide greater flexibility in optimizing its collaborative media workflow and in scaling storage capacity and performance.

Hula Post Supports The Jungle Book

Mon, 04/25/2016 - 15:23 -- Nick Dager

In a project spanning nearly two years, Hula Post provided editorial systems, workflow engineering and technical support to Walt Disney Pictures for the production of The Jungle Book. Hula Post engineers set up and maintained editorial facilities at the studio’s production facility in Playa Vista; at Digital Domain, where motion capture elements were produced; and at Los Angeles Center Studios, where live action elements were captured. Additionally, it supported satellite-editing facilities at Sony Pictures Studios and Skywalker Sound, where sound work was completed.

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Codex, OffHollywood Deliver Live HDR On-Set Grading for Red Cameras

Mon, 04/18/2016 - 13:03 -- Nick Dager

Codex has integrated Codex Live, the color management and look-creation system enabling set-to-post color confidence, with OffHollywood’s OMOD for Red Digital Cinema cameras. This technology collaboration delivers a fast and robust set-to-post solution for Red camera workflows, and also enables live high dynamic range on-set grading for the first time.

Guardians 2 Turns to Red 8K, Codex

Thu, 04/07/2016 - 13:30 -- Nick Dager

Director James Gunn is using Red’s 8K Weapon camera on Marvel’s latest cosmic adventures in Guardians of The Galaxy Vol. 2. Behind-the-scenes, Codex workflow systems, operated by Santa Monica, London and Atlanta based production services company Shed, are enabling the smooth and speedy transition of a river of 8K data from on-set into post production. The cinematographer on Guardians of the Galaxy Vol. 2 is Henry Braham BSC, who previously used Red Epic cameras on The Legend of Tarzan. He is one of the first DPs to deploy the new Red Weapon camera, fitted with the 8K Red Dragon sensor, on a long-form show, describing it as “the little big camera. Perfectly counterintuitive. And perfect for this production.”

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