In its third collaboration with Darren Aronofsky,
the New York post facility manages a film based workflow and intensive grading
sessions for biblical epic.
                         
NEW YORK— Technicolor-PostWorks New
York
marked its third collaboration with Darren Aronofsky in providing post
production services for Noah, the
director’s epic inspired by the story of Noah in the Old
Testament. The facility
provided everything from 35mm film processing to editorial conforming and final
color grading. Technicolor-PostWorks played a similar role on Aronofsky’s films
The Wrestler and Black Swan, but Noah’s complex visuals made it the largest
feature film post production project ever undertaken in New York.

Tim Stipan,
senior colorist at Technicolor-PostWorks, handled final color grading for the
Paramount Pictures and Regency Enterprises film, working under the
supervision of Aronofsky and Cinematographer Matthew Libatique, ASC. Stipan began
work on the film in pre-production by grading camera tests. “A lot of tests were
related to filming in rain and how the camera reacted to it,” Stipan recalls.
“We also did some IMAX tests, and they proved invaluable later on as the looks
we set essentially remained the same through final post.”
Noah was shot
almost entirely on 35mm. Film negative was processed in New York, both while
the production was shooting in the New York area and in Iceland (where many of
the exteriors were shot). Following film processing, the facility produced HD
dailies for review and editorial. It also performed 2K and 4K pin-registered
scanning of film elements for delivery to visual effects providers, including
ILM and Look Effects, and for final mastering.
As visual effects shots were finished, they were delivered
back to Technicolor-PostWorks for color grading and conforming with live
action. “The filmmakers wanted to establish certain looks from the start in
order to guide the work of the visual effects team, recalls
Technicolor-PostWorks Senior Digital Intermediate Producer Kevin Vale. “We
conducted 60 or 70 VFX screenings for the benefit of Darren, Matty, Tim and the
visual effects vendors.”
“The VFX screenings were useful in determining how certain
effects elements reacted to color, density and contrast,” adds Stipan. “They
helped both the filmmakers and visual effects vendors see how color could enhance
the process.”
Stipan performed final grading in 2K on Autodesk Lustre.
Conforming was done on Autodesk Smoke by Digital Intermediate Editor Eric Leverenz. The DI process
spanned several weeks as new and updated visual effects elements arrived from
multiple vendors.
Libatique described the DI finish at Technicolor-PostWorks
as “action packed, but smooth.” “Tim is really motivated; he does the work of
three people,” Libatique says. “He has a background in photography and
cinematography, and that really helps me because we speak the same language.
The shorthand is easier.”
Technicolor-PostWorks sent files of the finished grade from
New York to Technicolor, Hollywood, which handled the
film’s deliverables (including home entertainment masters, film-out, and DCDM
mastering for all theatrical exhibition formats). Libatique and Stipan oversaw
the film’s 3D color-mapping at Technicolor Hollywood.
Technicolor-PostWorks is among few post houses on the East
Coast with the resources to handle a project of this scale and complexity. “It
was awesome, beyond awesome, to be able to finish this film in New York,”
concludes Stipan. “Typically, big visual effects-driven films like this are
finished in L.A., but we showed that we have the manpower, the resources and
the creative chops to pull it off. Noah could
be a game-changer for Technicolor-PostWorks and the entire New York production
community.”
About Technicolor – PostWorks New York
Technicolor
– PostWorks New York is the East Coast’s most comprehensive digital motion
picture and post-production facility, employing an exceptional team of artists,
engineers and project managers to serve our clients through the film and TV
finishing process.
Offering
data workflows, film processing, telecine/scanning, non-linear editorial and HD
picture finishing, digital intermediate and film recording, high-volume
encoding and high-speed data transmission, as well as comprehensive film and TV
sound services on nine mix stages, Technicolor – PostWorks New York serves as
one source for every post production requirement.
For
more information, visit http://www.technicolorpwny.com
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