FilmLight BaseLight

Creating the Colors of Wonder Wheel

Thu, 12/14/2017 - 11:51 -- Nick Dager

Wonder Wheel, from Amazon Studios, reunites Allen with veteran cinematographer Vittorio Storaro, who was behind the camera for Allen’s Café Society, where his cinematography earned the biggest raves from critics reviewing the film. The movie also reunites colorist Anthony Raffaele of Technicolor PostWorks New York and DIT Simone d’Arcangelo.

The Color of Tulip Fever

Thu, 08/31/2017 - 11:44 -- Nick Dager

Technicolor in London has completed post on Tulip Fever, a romantic period drama from The Weinstein Company and directed by Justin Chadwick. As well as performing the grade, conform and deliverables, Jean-Clément Soret, MPC’s global creative director of color grading, was also responsible for completing the trailers, allowing the audience to be immersed in the look and feel of the movie from the preview onwards.

Long Distance Snow Job

Mon, 06/12/2017 - 12:26 -- Nick Dager

For Nissan’s Return of the Snowman spot, visual effects specialists The Embassy in Vancouver banded together with post house Alter Ego in Toronto. The Embassy is well known for its photo-realistic, hard surface VFX work, from creating the digital Iron Man suits for all three films to building massive drop ship hangers for The Hunger Games trilogy. Having worked on countless commercials with Alter Ego, The Embassy made the decision to become part of the creative process for grading, to improve the efficiency and precision of their VFX work and present a consistent preview to their clients.

Sully Graded at Technicolor LA

Thu, 10/06/2016 - 11:36 -- Nick Dager

Clint Eastwood’s biographical drama Sully was color graded at Technicolor LA by colorist Maxine Gervais. Produced by Malpaso Productions, the film tells the true story of pilot Chesley Sully Sullenberger, portrayed by Tom Hanks, and applauds him as a hero after he safely landed US Airways Flight 1549 in the Hudson River in New York back in 2009, saving 155 lives.

Storaro Discusses His First Digital Shoot

Wed, 08/17/2016 - 12:39 -- Nick Dager

“When Woody Allen asked me to do Café Society, he had never done a digital capture before, but I knew that I had to jump completely into this new chance we had,” said Vittorio Storaro. “I wanted to see images on set that would be very close to the final result and afterwards on dailies even closer, almost 90 percent of that way to what we would see at the end.”

Back to Basics for Son of Saul

Wed, 02/24/2016 - 10:35 -- Nick Dager

Son of Saul, László Nemes’ Golden Globe winner, is set in the horrors of Auschwitz in 1944. The movie was shot on 35mm film, which underlined its stark and understated look. To capture the emotions that underpin the movie, Nemes set about what seems today like a revolutionary analog to digital workflow: he not only shot the feature on film, but he finished and reviewed it on film, too. Son of Saul is a very raw story. The harrowing story, also nominated for best foreign language Oscar, got its subtle grading atmosphere from one of the FilmLight Baselight suites at Budapest facility Magyar Filmlabor (Hungarian Filmlab). Having achieved the visual style that Nemes and the movie’s DP Mátyás Erdély wanted in the film print, colorist László Kovács set about recreating this in Baselight.

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