Studio Hires Devin Sterling as Exec Producer for DI

Riot has unveiled an all-new DI Theatre at its Santa Monica facility, combining the latest in digital imaging technology with a flexible workflow designed to accommodate all types of high-end feature work. The introduction of DI services also marks the final step in Riot’s year-long drive to relaunch its Feature Film Services division, an effort that has also included a marked expansion of its visual effects resources and staff. The studio can now deliver complete digital post production services for feature films from dailies through final delivery.
“We have taken a very deliberate approach toward building a DI resource-incorporating the best of everything into a facility that fits hand-in-glove with our visual effects operations,” said Riot Managing Director, Michael Taylor. “We saw this as an ideal opportunity-especially on the Westside which has had limited capacity for DI-and we are very excited by it.”

Riot currently has several projects lined up for DI work, including Game for Lakeshore Entertainment, where grading will be performed by DI Colorist Siggy Ferstl. Riot has designed a proprietary workflow for the film, which is being shot with the RED ONE digital cinema camera that will encompass dailies processing, visual effects production, color grading and deliverables. Riot is also handling DI work for another Lakeshore title, Henry Poole is Here.

To oversee the new service, Riot has hired Devin Sterling as Executive Producer for DI. Formerly a DI Producer for Technicolor, Sterling has broad experience in digital intermediate production, including for such films as The Departed, Fantastic Four: Rise of the Silver Surfer and My Super Ex-Girlfriend. His role is to supervise current projects, manage client relations and develop new business.

Sterling said that he was impressed with the goals Riot has set for its Feature Film Services division. “This studio has a wealth of talent and it is obvious they are building something great,” he said. “Riot has set very high objectives and it has the energy and the resources to meet them.” Sterling’s background also includes positions with Warner Bros., Disney and Complete Post.

The creative staff of the DI Theatre will feature DI Colorist Siggy Ferstl, whose credits include Live Free or Die Hard, Stephanie Daley, Underworld: Evolution, Feast of Love, Untraceable, The Dead Girl and Pulse. Other Riot colorists available for DI work include Bob Festa, Scott Klein, Clark Muller, Steve Rodriguez, Tony Smith and Ken Van Deest; as well as colorists from other Ascent Media family facilities.

Among the unique features of Riot’s DI Theatre is a dual-sided 19′ by 9′ projection screen. The screen has a white surface on one face for conventional screenings, and a silver surface on the reverse side for screening stereoscopic 3D imagery. The unusually large size of the screen also allows it to accommodate the screening of film and digital imagery in virtually any aspect ratio.

Color grading will be accomplished via Da Vinci’s Resolve RT, the latest version of the acclaimed digital mastering system. Other key technical resources include a Kinoton FP 30 screening room projector and a Barco DP90P digital cinema projector. An AMX Touch Panel system allows the DI Colorist fingertip control over the projectors, room lighting, screen masking and other environmental features.

Among the aesthetic features of the room are Cocobolo hardwood work surfaces for the colorist and client, and German-made stadium seating. Riot has also constructed a second, slightly smaller screening room with similar features for previewing visual effects sequences.

The project was overseen by Riot’s Chief Engineers, Jay Bodnar and Robb Cadzow. “We drew on the experiences other Ascent Media Group facilities have had in building DI theaters and added our spin to it to create a facility that delivers great performance and accommodates our clients’ workflow and presentation needs,” said Bodnar. “It’s a great place to do great work.”

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