Facility
provides final color grading services for “The End of the Tour” and “Zipper.”
It also restores award-winning doc “Paris is Burning” for 25th
Anniversary screening.
provides final color grading services for “The End of the Tour” and “Zipper.”
It also restores award-winning doc “Paris is Burning” for 25th
Anniversary screening.
BURBANK,
Calif.—Modern VideoFilm provided post-production services for
two films making their world premieres at this month’s Sundance Film Festival.
They include The End of the Tour, James Ponsoldt’s drama about a 1996
encounter between Rolling Stone journalist David Lipsky and novelist David
Foster Wallace, and Zipper, Director
Mora Stephens’s film about a federal prosecutor battling addiction.
Calif.—Modern VideoFilm provided post-production services for
two films making their world premieres at this month’s Sundance Film Festival.
They include The End of the Tour, James Ponsoldt’s drama about a 1996
encounter between Rolling Stone journalist David Lipsky and novelist David
Foster Wallace, and Zipper, Director
Mora Stephens’s film about a federal prosecutor battling addiction.
Additionally,
Modern VideoFilm teamed with the Sundance Institute in producing a new digital
restoration Paris Is Burning, Jennie
Livingston’s exuberant documentary about black and Latino drag queens in New
York City in the 1980s. A special screening of the restored DCP master will be
held at Sundance to mark the film’s 25th Anniversary.
Modern VideoFilm teamed with the Sundance Institute in producing a new digital
restoration Paris Is Burning, Jennie
Livingston’s exuberant documentary about black and Latino drag queens in New
York City in the 1980s. A special screening of the restored DCP master will be
held at Sundance to mark the film’s 25th Anniversary.
For
The End of the Tour, Modern VideoFilm
Colorist Bryan McMahan worked under Ponsoldt’s direct supervision in applying
final color grading. The feature was shot on 3-perf 35mm film by Swedish
cinematographer Jakob Ihre (Reprise;
Oslo, August 31st).
The End of the Tour, Modern VideoFilm
Colorist Bryan McMahan worked under Ponsoldt’s direct supervision in applying
final color grading. The feature was shot on 3-perf 35mm film by Swedish
cinematographer Jakob Ihre (Reprise;
Oslo, August 31st).
Much
of the film was shot in Michigan during winter (with additional units in Minneapolis, at The
Mall of America, and New York City). According to Ponsoldt, the snowy, rural
environments provide an emotional counterpoint to the tenuous relationship that
develops between Lipsky and Wallace. “A lot of films set in winter play into
the oppressive or dark, brutal qualities of the weather,” recalls Ponsoldt.
“What was important to us was to bring in the romance of winter and snow.”
of the film was shot in Michigan during winter (with additional units in Minneapolis, at The
Mall of America, and New York City). According to Ponsoldt, the snowy, rural
environments provide an emotional counterpoint to the tenuous relationship that
develops between Lipsky and Wallace. “A lot of films set in winter play into
the oppressive or dark, brutal qualities of the weather,” recalls Ponsoldt.
“What was important to us was to bring in the romance of winter and snow.”
Ponsoldt
adds that he believes those qualities are best captured on film. “Nothing
equals film as far as emotionality and texture,” he says.
adds that he believes those qualities are best captured on film. “Nothing
equals film as far as emotionality and texture,” he says.
During
the grading process, McMahan, whose previous credits include The Tree of Life and Killer Joe, sought to bring out the
nuance captured by Ihre in the winter exteriors and the vibrant colors featured
in contrasting interior scenes. “They shot a lot of areas with snow,” McMahan
observes. “So, we were often working with white-on-white. Film holds details in
those environments that you might lose in digital.”
the grading process, McMahan, whose previous credits include The Tree of Life and Killer Joe, sought to bring out the
nuance captured by Ihre in the winter exteriors and the vibrant colors featured
in contrasting interior scenes. “They shot a lot of areas with snow,” McMahan
observes. “So, we were often working with white-on-white. Film holds details in
those environments that you might lose in digital.”
“It
was a pleasure to work with Bryan,” says Ponsoldt. “He brought out the
wonderful qualities in Jakob’s cinematography. Bryan is a true artist and a
great collaborator.”
was a pleasure to work with Bryan,” says Ponsoldt. “He brought out the
wonderful qualities in Jakob’s cinematography. Bryan is a true artist and a
great collaborator.”
The
restoration of Paris Is Burning was
produced from new scans of original 16mm film elements. During initial grading
sessions, Modern VideoFilm Colorist Gregg Garvin had access to a 35mm print,
produced at the time of the film’s original release, and a video transfer
produced a decade ago under Livingston’s direction for reference. Final grading
was conducted under Livingston’s direct supervision.
restoration of Paris Is Burning was
produced from new scans of original 16mm film elements. During initial grading
sessions, Modern VideoFilm Colorist Gregg Garvin had access to a 35mm print,
produced at the time of the film’s original release, and a video transfer
produced a decade ago under Livingston’s direction for reference. Final grading
was conducted under Livingston’s direct supervision.
“It
turned out beautifully,” says Garvin. “Having two reference copies and the
director’s input was a big advantage. It’s a very colorful film.”
turned out beautifully,” says Garvin. “Having two reference copies and the
director’s input was a big advantage. It’s a very colorful film.”
Paris Is
Burning is
included in The Sundance Collection at UCLA. Modern VideoFilm provided
restoration services for another film from the collection, Hoop Dreams, that screened at last year’s Sundance Film Festival.
This year’s festival is slated for January 22nd through
February 1st in Park City, Utah.
Burning is
included in The Sundance Collection at UCLA. Modern VideoFilm provided
restoration services for another film from the collection, Hoop Dreams, that screened at last year’s Sundance Film Festival.
This year’s festival is slated for January 22nd through
February 1st in Park City, Utah.
About Modern VideoFilm
Modern VideoFilm has been providing post-production and
distribution services to the film, television and media content industries for more
than 33 years. Its clients include all of the major movie and television
studios, as well as leading on-demand streaming services, online digital media
retailers, ecommerce sites, interactive entertainment companies, and other
commercial entities across the United States and around the world. The
company’s staff comprises more than 500 dedicated and talented artists,
technicians, engineers, producers, client representatives and support
personnel.
distribution services to the film, television and media content industries for more
than 33 years. Its clients include all of the major movie and television
studios, as well as leading on-demand streaming services, online digital media
retailers, ecommerce sites, interactive entertainment companies, and other
commercial entities across the United States and around the world. The
company’s staff comprises more than 500 dedicated and talented artists,
technicians, engineers, producers, client representatives and support
personnel.
Modern VideoFilm’s Creative Services division offers
complete, end-to-end resources for the production of original motion picture,
television and media content. Its Content Management division provides comprehensive
solutions for the management, repurposing, distribution and archiving of
entertainment content.
complete, end-to-end resources for the production of original motion picture,
television and media content. Its Content Management division provides comprehensive
solutions for the management, repurposing, distribution and archiving of
entertainment content.
Creative Director
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