Post house DigitalFilm Tree CEO Ramy Katrib congratulated CBS and producers Christopher Molnar and Erik Whitmyre on the 10th season of NCIS: Los Angeles. Katrib said that in nearly 250 episodes DFT has averaged 250-400 effects per show. He thanked producers on NCIS: Los Angeles for giving DFT their trust and allowing them to achieve several technology firsts
Goldcrest Post, New York has added veteran colorist Marcy Robinson to its roster and unveiled a new, state-of-the-art 4K theatre. The moves are part of a broader strategy to offer film and television productions packaged post services encompassing editorial, picture finishing and sound.
Based on the acclaimed Dark Horse action noir graphic novel, Polar: Came From the Cold by Victor Santos, the Netflix feature film Polar was directed by Jonas Åkerlund (Lords of Chaos) and shot by cinematographer Pär M. Ekberg with Panasonic VariCam Pure cinema cameras. Born and raised in Sweden, Ekberg got his start as a still photographer at a young age and eventually transitioned into cinematography. He has shot features, commercials and music videos for established artists such as Beyoncé, Pink, Lady Gaga, Taylor Swift, Katy Perry and U2, and many others.
Christopher Ray, colorist at Picture Shop, joined director Albert Hugues’s epic adventure last year on Alpha, setting the looks on-set with FilmLight Daylight. His collaborative work with Technicolor senior colorist Maxine Gervais relied heavily on creativity and on the Daylight-Baselight Base Linked Grade exchange. Digital Cinema Report recently spoke with Ray about the experience.
Éclair today announced the successful remastering of Antonin Baudry’s Le Chant du Loup, the first French feature film in 300 nits high dynamic range for Onyx Cinema LED screens. In addition to the Onyx Cinema LED version, Le Chant du Loup is available in ÉclairColor in 15 cinemas across France.
BaseLight Student, FilmLight’s free macOS application, has been enhanced with advances from the core BaseLight v5 software. BaseLight Student v5 will allow those developing their skills as a colorist to have the full range of creative features, based on the same platform as every BaseLight system.
Technicolor PostWorks New York provided finishing services for The Dawn Wall, the riveting, new documentary from Red Bull House Media about free-climbers Tommy Caldwell and Kevin Jorgeson’s historic attempt to conquer El Capitan in Yosemite National Park. Colorist Keith Jenson worked with co-directors Josh Lowell and Peter Mortimer and cinematographer Brett Lowell in finalizing the look of the documentary, which takes audiences along for the climb as Caldwell and Jorgeson test themselves against a sheer, 3,000-foot rock face known as the Dawn Wall.
The new feature film Mid90s, which marks the directorial debut of Jonah Hill, tells the coming-of-age story of Stevie, a 13-year-old Los Angeles boy who seeks escape from troubles at home in the company of the friends he meets in a local skate shop. Post-production finishing for the film was completed at Technicolor PostWorks New York where colorist Alex Bickel worked directly with Hill and cinematographer Christopher Blauvelt to recreate the sun-washed look of 1990s Southern California and the taut emotional landscape of Stevie’s world
Cinematic Media, a full-service post-production finishing facility focused exclusively on television and cinema content, has launched in Mexico City. Located on the lot at Estudios GGM, the new facility offers dailies, look development, editorial finishing, color grading and other services, and aims to capitalize on booming entertainment media production in Mexico and throughout Central and South America. In its first project, Cinematic Media provided finishing services for the second season of the Netflix series Ingobernable.
The sixth and final Emmy award winning series of The Americans, a period spy thriller set in the 1980s during the Cold War, was recently finished in high dynamic range and 4K Ultra HD at Technicolor PostWorks in New York. Since series two, the look of the finished series has been the responsibility of John Crowley, Senior Digital Colorist, working on the Baselight color grading system from FilmLight.