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.
Hocus Focus has been described as one of the industry's most creative and dynamic boutique post houses. Attracting international and local high-profile clientele, it is an inspiring example of how a small organization can punch above its weight, win business and make money. Equipped with the latest SGO Mistika technology and creative expertise, the company offers competitive services and facilities for every stage of the production process delivering stunning results across commercials, film and television drama and documentaries.
Baba Joon means papa as a term of endearment expressing respect for the father of the family in a traditional Iranian home. A movie named Baba Joon was selected as best film at the most recent Ofir Awards, the Israeli version of the Academy Awards. The film portrays the human struggle many face when having to choose between tradition and personal freedom, dealing with the challenges that the generational gap can cause. Baba Joon is the feature-length directorial debut of screenwriter director Yuval Delshad, an Israeli and himself, the son of Iranian immigrants. Shot with a Red Epic, Baba Joon was also the first feature completed on Tel Aviv-based Edit Studio's Mistika.
Post-production finishing for the new independent feature Dixieland was completed at Technicolor PostWorks New York. Colorist Anthony Raffaele worked with first-time writer/director Hank Bedford and cinematographer Tobias Datum to finalize the look of the tense crime thriller set in modern day Mississippi. The facility also handled editorial conforming and visual effects.
Established Australian post house Spectrum Films has played host to international productions such as The Railway Man, The Water Diviner, The Matrix, The Great Gatsby, Wyrmwood: Road of the Dead, Sacred Heart and many other titles, including, most recently, a compelling documentary that aired in 2015 called Deadline Gallipoli: The Full Story. The documentary illustrates how Spectrum Films relied fully on SGO Mistika's open architecture, speed and versatility. The entire project was post-produced in Mistika including the online, color grading, titling and deliverables.
