Documentary, about an unlikely friendship between a
gay man and a former neo-Nazi, debuted at Outfest Los Angeles.
Berkeley, CA— Colorflow recently provided
final post production services for Facing
Fear¸ first-time director Jason Cohen’s powerful documentary short about
the unlikely friendship between a former neo-Nazi and the gay man he victimized
decades earlier. Kent Pritchett performed final color grading for the doc,
which recently made its world premiere at Outfest Los Angeles where it won the
Audience Award. Facing Fear is scheduled
for a theatrical run at the Laemmle Music Hall Theatre in Beverly Hills, August
9th – 15th.
final post production services for Facing
Fear¸ first-time director Jason Cohen’s powerful documentary short about
the unlikely friendship between a former neo-Nazi and the gay man he victimized
decades earlier. Kent Pritchett performed final color grading for the doc,
which recently made its world premiere at Outfest Los Angeles where it won the
Audience Award. Facing Fear is scheduled
for a theatrical run at the Laemmle Music Hall Theatre in Beverly Hills, August
9th – 15th.
The documentary centers on the story of Matthew Boger, who
at age 13 was thrown out of his home for being gay. While living on the streets
of Hollywood, he was attacked, beaten and left for dead by neo-Nazi skinheads. Decades
later, Boger had a chance encounter with one if his attackers, Tim Zaal, and
that, improbably, led to forgiveness and reconciliation. The two men became friends and collaborators
and are touring the country to share their incredible story.
at age 13 was thrown out of his home for being gay. While living on the streets
of Hollywood, he was attacked, beaten and left for dead by neo-Nazi skinheads. Decades
later, Boger had a chance encounter with one if his attackers, Tim Zaal, and
that, improbably, led to forgiveness and reconciliation. The two men became friends and collaborators
and are touring the country to share their incredible story.
Cohen met Boger and Zaal while working on a long-form
documentary for the nonprofit Fetzer Institute. “The chain of events, what
these guys went through, and their journey toward forgiveness struck me
immediately,” Cohen says. “You hear a lot of forgiveness stories, but this one
is pretty remarkable.”
documentary for the nonprofit Fetzer Institute. “The chain of events, what
these guys went through, and their journey toward forgiveness struck me
immediately,” Cohen says. “You hear a lot of forgiveness stories, but this one
is pretty remarkable.”
Cohen, whose background includes work as a film and
television producer, assembled a top-notch crew that included cinematographer
Svetlana Cvetko (Inside Job) and
editor Tom Christopher (Independent Lens,
American Masters). The documentary was primarily shot with a
Canon C-300 camera in C-log, which provided a versatile and relatively low-cost
means of producing studio-grade imagery.
television producer, assembled a top-notch crew that included cinematographer
Svetlana Cvetko (Inside Job) and
editor Tom Christopher (Independent Lens,
American Masters). The documentary was primarily shot with a
Canon C-300 camera in C-log, which provided a versatile and relatively low-cost
means of producing studio-grade imagery.
The documentary was also given a studio-caliber finish. At
Colorflow, Pritchett took it through a digital intermediate-style mastering process
that is common for studio features but rare for an independently-produced
documentary. Using an Autodesk Lustre grading system, Pritchett not only
balanced light and color to give the film a consistent look suitable for
theatrical display, he also used color to affect the tone and atmosphere. That
is most clearly evident in a sequence recreating the attack on Bolger, which
occurred in the early ‘80s.
Colorflow, Pritchett took it through a digital intermediate-style mastering process
that is common for studio features but rare for an independently-produced
documentary. Using an Autodesk Lustre grading system, Pritchett not only
balanced light and color to give the film a consistent look suitable for
theatrical display, he also used color to affect the tone and atmosphere. That
is most clearly evident in a sequence recreating the attack on Bolger, which
occurred in the early ‘80s.
“It’s a night sequence and we stylized and desaturated it
quite a bit,” Pritchett recalls. “We pushed a lot of browns and yellows into it
to give it the feel of the time period and keep it dark and moody. There is a
lot of fluorescent lighting in those scenes, but it’s not Vegas-style lighting.
It’s faded and grungy…ominous.”
quite a bit,” Pritchett recalls. “We pushed a lot of browns and yellows into it
to give it the feel of the time period and keep it dark and moody. There is a
lot of fluorescent lighting in those scenes, but it’s not Vegas-style lighting.
It’s faded and grungy…ominous.”
Color can be a subtle but powerful storytelling tool, says
Pritchett, but the cost of sophisticated post-production processing has kept it
beyond the reach of most documentarians and other independent filmmakers—at
least until now. Software advances have helped to improve the speed and lower
the cost of digital intermediate color grading.
Pritchett, but the cost of sophisticated post-production processing has kept it
beyond the reach of most documentarians and other independent filmmakers—at
least until now. Software advances have helped to improve the speed and lower
the cost of digital intermediate color grading.
More importantly, Colorflow has developed a business model
specifically geared toward creatively-minded independents. “More filmmakers are
beginning to realize that they can use color to tell stories,” says Pritchett.
“It’s good to see people in the documentary world experimenting with these
tools.”
specifically geared toward creatively-minded independents. “More filmmakers are
beginning to realize that they can use color to tell stories,” says Pritchett.
“It’s good to see people in the documentary world experimenting with these
tools.”
Cohen agrees. “Colorflow is fulfilling a need in the Bay
Area film community,” he says. “They thought of everything in building the
studio in terms of services and amenities. There simply isn’t another post
house that can do what they do.”
Area film community,” he says. “They thought of everything in building the
studio in terms of services and amenities. There simply isn’t another post
house that can do what they do.”
Post production work for Cohen’s first feature-length
documentary begins at Colorflow in September.
documentary begins at Colorflow in September.
ABOUT FACING FEAR;
For more
information on the film FACING FEAR – A FILM BY JASON COHEN please go to:
information on the film FACING FEAR – A FILM BY JASON COHEN please go to:
About Colorflow
Colorflow is a full-service post-production facility
specializing in color grading for film, broadcast and the web. The facility is
100 percent file-based and can accommodate all camera formats, including raw
camera files and uncompressed image sequences. Its workflow is fast, modular
and can be adapted to accommodate productions of all types and scale. Colorflow is located in the Zaentz Media
Center at 2600 10th Street, Ste.110, Berkeley, CA 94710.
specializing in color grading for film, broadcast and the web. The facility is
100 percent file-based and can accommodate all camera formats, including raw
camera files and uncompressed image sequences. Its workflow is fast, modular
and can be adapted to accommodate productions of all types and scale. Colorflow is located in the Zaentz Media
Center at 2600 10th Street, Ste.110, Berkeley, CA 94710.
For further information please contact:
Kim Salyer
Alex D. da Silva
888-306-4026
510-849-1000
Creative Director
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