In a project for 20th Century Fox spanning nine months, Roundabout Entertainment restored and remastered the first eight seasons of the classic procedural police drama NYPD Blue. More than 170 one-hour episodes were scanned and finished in 2K, restoring the show to pristine quality for a new domestic release.
Throughout its century in business, Technicolor, the well-known production and post-production house, has worked on features, episodics, and marketing material across the content scale from major studio productions to award-winning independents. More recently, Technicolor has been leading the topic of High Dynamic Range through many outlets including the foundation of the UHD Alliance. Its services range from color grading, mastering services, VFX and final delivery, all of which have now incorporated HDR content.
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.
LipSync has appointed Tom Russell to the role of colorist, effective immediately. Russell will work across feature films, TV drama and commercials alongside the existing grading team.
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.
Marquise Technologies has introduced a new color management system that the company says allows users to work in the best possible conditions for delivering new high dynamic range and wide gamut REC2020 deliverables efficiently and with accuracy. The new color management system interface available in Mist allows color integrity from any source image to ACES, becoming the reference workspace within Mist for any HDR workflow.
British colorist Adam Inglis, whose credits include such features as Far From the Madding Crowd, Mr. Turner and Sherlock Holmes: A Game of Shadows, as well as the television mini-series Wolf Hall, has allied with Post Factory NY, a Sim Group company, for U.S.-based feature and television projects. He has already completed two projects through Post Factory NY, performing final grading for the independent films Little Men and Breakable You.
Deadpool is already one of 2016’s biggest box office hits. The darkly comic and graphic take on the superhero movie was finished by colorist Tim Stipan on Baselight at Deluxe’s EFilm in Hollywood. “Working on such a complex, effects-heavy project often requires various external matte sequences in addition to multiple image tracks. Multiply that by the large number of VFX vendors, and it meant we had a lot of different layers and mattes,” said Stipan.
Software developer SGO and video hardware developer AJA Video Systems have announced that SGO's flagship color grading and finishing post-production system Mistika is now fully compatible with AJA's line of Kona and Corvid video capture and playback cards. The result, the companies say, is optimized video output. The combination of the new Mistika version with the AJA hardware boosts support for video formats including 4K stereo 3D dual-link, even at HFR frame-rates up to 60p.
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.