DI Process of Knowing and CHE ?

[Rainer Fritz]

Hi !

Does anyone know how the RAW material was processed and how the print was made ? Would be very very interesting to know how the post process was done in both films....

anyone ?

thx

Rainer

 

[C.H.Haskell]

Che was done on scratch I am pretty sure, there is an article on the workflow floating around here somewhere and Knowing I have know I idea...good question, I thought the CC on this movie looked great, one of the more film like RED trailers I have seen.

 

[Sanjin Jukic]

Hi !

Does anyone know how the RAW material was processed and how the print was made ? Would be very very interesting to know how the post process was done in both films....

anyone ?

thx

Rainer

Rainer,

maybe those two links can help


- The Making of Che using SCRATCH and the RED ONE 4K Digital Camera>>>>

- American Cinematographer April, 2009, Sum of All Fears an article by Simon Gray, page 44>>>

A quote from the page 55:
"Duggan digitally graded
Knowing at Park Road with colorist
David Hollingsworth. Using the
Quantel Pablo, they worked at 2K
resolution. “The footage was very
flexible when digging into shadows
or pulling down highlights without
introducing noise,” says the cinematographer.
“The on-set grades
and one-frame reference pulls
increased the efficiency and speed of
the timing process — definitely a big
advantage. For the printing, we
found that Fuji [Eterna-RDI] 4511
in combination with Kodak intermediate
stock [2242] and Fuji
[Eterna-CP] 3513-DI print stock
gave us the best results.” Park Road
Post handled the filmout, and
Deluxe Laboratories generated the
release prints.
The DI also proved useful for
very specific image manipulation.
“The film is set in autumn, during
the short period when the leaves
change color,” explains Duggan.
“However, because many of the
trees were still green at the time of
our shoot, we spent quite a while in
the DI changing the leaf colors
through color and luminance keying
to create the full range of pinks
and oranges. Skin tones generally
fell into place. Sometimes a little
extra contrast was required when
adjusting subtleties of tone and
color, such as when heavier makeup
was used on the actors.”

(If the above link doesn't work then click at PREVIEW button and load again)

One more trick>>> at the same page on top is SAVE AS PDF, click there and save all magazine content as PDF file.

Happy readings and good luck!

 

[Rainer Fritz]

Thx Sanjin! Very useful information.... do you have the email address of David Hollingsworth ?

 

[Dan Hudgins]

Knowing DI

Knowing DI

There is some more about Knowing in this thread,

http://reduser.net/forum/showthread.php?t=27920&page=4

http://reduser.net/forum/showthread.php?t=27920&page=3

I was told by SS that CHE was run off on a Cinevator,

http://www.cinevation.net/cinevatio...ion.net&page=p_product.jsp&cat=Cinevator&id=8

So it seems that was direct to print stock at 2K (?), CHE#1 was on standard kodak print stock, and CHE#2 was on Fuji print stock it seems...

 

[Sanjin Jukic]

Thx Sanjin! Very useful information.... do you have the email address of David Hollingsworth ?

Rainer,

maybe this could help>>>

DAVID HOLLINGSWORTH
SENIOR COLOURIST

With over 13 years experience in colour grading Dave has an extensive list of feature films,
short films and award-wininng commercials to his credit. With over 13 years experience in
colour correction Dave has an extensive list of feature films, short films and award-winning
commercials to his name. Currently Dave is working with Peter Jackson on The Lovely Bones,
due for release later this year. He has also recently completed the grade for Alex Proyas’s Knowing.
Prior to joining Park Road Dave was a senior colourist at The Lab in Sydney.
Click here to be sent showreel.

CONTACT US
Please contact us if you’d like further information about any of Park Road’s services and facilities.
Park Road Post Production
141 Park Road
PO Box 15132
Miramar, Wellington
New Zealand

Phone: + 64 4 380 7800
Fax: +64 4 380 7331
Email: parkroad@parkroad.co.nz


More>>>

One more useful info about DI from Park Road:

Digital_Intermediate_Guide_for_Filmmakers.pdf

 

[Rainer Fritz]

guys thats great thx....

 

[Lucas Wilson]

Hi !

Does anyone know how the RAW material was processed and how the print was made ? Would be very very interesting to know how the post process was done in both films....

anyone ?

thx

Rainer

The CHE movies were edited on FCP, and conformed, graded, and finished on SCRATCH.

Soderbergh's team bought a SCRATCH system, and Stephen grades all of his own movies. The CHE movies, The Informant, and The Girlfriend Experience have all been graded on SCRATCH.

I know that for CHE, Soderbergh's team worked in conjunction with Technicolor NYC and LA on the final tweaks and filmouts. Tim Stipan at Technicolor NYC has been the "Finishing Colorist" for the CHE movies and The Informant.

Lucas
-----
ASSIMILATE, inc.
LA, CA, USA