One of the most awaited drama series of 2019, His Dark Materials, produced by Bad Wolf for BBC and HBO, was finished at Technicolor in London. With a story set in a parallel universe that seems like the Britain of a century ago, and with fantastic elements such as giant armored polar bears and ever-present demons – animal representations of the human soul – the production is a tour de force of visual effects, and therefore somewhat demanding of the colorist, Jean-Clément Soret.
Sam Chynoweth joined Technicolor in July 2018 and brings a mixture of animation and live action experience to Technicolor’s London color team. Chynoweth previously worked as a colorist in Australia on a number of different projects, including The Lego Movie, The Infiltrator, Peter Rabbit and The Lego Batman Movie. He spoke with Digital Cinema Report recently about his work.
The next in the series of acclaimed FilmLight Color Day master classes will be held April 8 during the National Association of Broadcasters convention. Presented by industry leaders in creative grading, this intensive day will introduce colorists, DPs and the wider production and post industry to the opportunities and challenges of modern color finishing and delivery.
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.
Swapnil Patole is senior colorist and digital intermediate head of department at Famous Studio in Mumbai, which opened in 1946 and has become one of the finest post-production houses in India. Since starting his career 14 years ago, he has graded a long list of commercials in all genres and for brands such as L’Oreal, Garnier, McDonalds, Honda and Nivea, to name a few. He has more recently worked on feature films, festival short films and music videos, including a project for Sony Music India. Digital Cinema Report recently spoke with him about his career and how evolving technology has changed the work of colorists around the world.
Manuel Canchola is a freelance colorist based in Mexico City. He works on a mixture of commercials, television and film and uses this variety to continuously improve his skills as a colorist. Canchola, a passionate advocate for new technology and, in particular, high dynamic range, recently spoke with Digital Cinema Report about his career and his work in color grading.
Donbass, a new movie by Ukrainian writer/director Sergei Loznitsa, is to be shown as a work-in-progress version at the 2018 Cannes Film Festival. Post-production was to a tight timescale – shooting only wrapped in March – and Bucharest facility Digital Cube used a Baselight grading suite to ensure delivery while retaining full creative control over the look.
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.
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.
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.