American Cinematographer - August 2008 - (Page 72) Top: Colorist Corinne Bogdanowicz works at her Baselight Eight station in Post Logic’s Hollywood facility. Middle (from left): Post Logic VicePresident of Software Engineering Denis Leconte, Bogdanowicz, and Executive Vice-President of Imaging Science Mitch Bogdanowicz. Bottom: Cinematographer Kris Krosskove eyes the action through the Dalsa Origin. from the Origin to QuickTime files to be edited in Final Cut Pro and stored on the facility’s NAS. When the EDL for the movie came back to Post Logic, the first order of business was to reload, process and conform the highresolution DPX files to match the editor’s EDL; this was primarily an automatic, frame-for-frame process, though any effects (such as fades, dissolves and speed changes) had to be re-created in Post Logic’s Inferno suite, which was also employed to clean up such imperfections as dirt on the lens. The DPX files for each shot in the edit — plus six-frame handles on both ends — were then taken into Post Logic’s Baselight Eight suite, where Corinne Bogdanowicz graded the show. FilmLight’s Baselight Eight enables users to play and grade 4K data in real time and features a 48TB local-storage capacity. During post, Reach for Me took up about 30TB of space between the Baselight Eight and the Isilon, but the final movie was only 6TB. “[The process] was very similar to what I could do with DPX files that come from a film negative,” says the colorist. “We made some daytime shots nighttime shots, and we pushed some things a little bit. “Everything was so clean and so free of noise I had to be super-careful about introducing any artifacts in any of the work I was doing,” she continues. “If I was pulling keys, altering anything inside a Power Window or trying to do a simple blemish fix on an actor, I had to be very careful about blending it without bringing in even a tiny bit of noise. When I work with something that originated on film, film grain covers all that up, but with the Dalsa, the pictures started out so clean you really noticed it.” Birstock stresses that Reach for Me’s post workflow went as smoothly as it did because the facility’s team was able to collaborate with the filmmakers during prep. “The preproduction meeting is extremely important to making everything work,” says Birstock. “Everybody comes in with 72 August 2008
For optimal viewing of this digital publication, please enable JavaScript and then refresh the page. If you would like to try to load the digital publication without using Flash Player detection, please click here.