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Tag Archives: DI
11 articles found
Colorflow Opens 7500-Square-Foot Berkeley Facility
Color-grading facility Colorflow opened a new 7500-square-foot studio with three grading and finishing suites and a DCI-compliant 22-seat DI theater at the Saul Zaentz Media Center in Berkeley, CA. The main DI-grading theater was originally built as the Jacobs Theatre. …
Color-Grading Without the Color for Frankenweenie
Frankenweenie, which opens tomorrow in U.S. theaters, is in some ways old-fashioned. Shot in color but released in black and white, and animated using stop-motion figures, the film about a boy, Victor Frankenstein, and his (undead) dog actually has its …
Getting the Right Color for Comedy in 21 Jump Street
21 Jump Street may be a comedy, but it doesn’t look like one. On the contrary, much of the film more closely resembles the gritty, streetwise cop dramas it pokes fun at. That was a deliberate choice by directors Phil …
Lowry’s Legacy: Toward a More Detailed Image
This Saturday, film restoration pioneer John Lowry was to receive a long overdue Scientific and Engineering Award from the Academy of Motion Picture Arts and Sciences in the annual ceremony that precedes the Oscars. Word came last week, however, that …
Colorist Lou Levinson on Restoring (and, Sometimes, Re-Thinking) Movies with the Baselight
Last week at NAB, Laser Pacific colorist Lou Levinson dropped by Filmlight’s demo room to show reporters a quick look at his work digitally restoring two popular titles on the super-powered Baselight color-grading system — director Steven Spielberg’s Saving Private …
The 4th Hollywood Post Alliance Awards
For the fourth time, the HPA held its annual Awards event at the Skirball Center in the Santa Monica mountains above Los Angeles. Having attended all of the HPA Awards events, I can say without reservation that the event has …
The Ugly Truth: DI at Company 3
The Ugly Truth, the movie starring Katherine Heigl and Gerard Butler, was directed by Robert Luketic and shot by Russell Carpenter, ASC, with 35mm film–and a little bit of the RED One. DI artist Siggy Ferstl created the Digital Intermediate …
London's LipSync Post Meets with Hollywood Studios
Soho-based LipSync Post has been a reputation in post production, visual effects and digital intermediates over the 21 years it’s been in business. Some of the high-profile films that LipSync has worked on in recent years includes The Bourne Ultimatum, …
Gamma & Density Intros RED workflow with 3cP
At an all-day seminar near Universal Studios, Gamma & Density introduced the use of its 3cP color management system for the RED camera systems. First up was first-hand experience: RED camera tech Tim Sutherland related his experiences using 3cP with …