SANTA MONICA, Calif—dick clark productions
Screening Room (DCPSR) and Riverbed
Post are now co-located to jointly provide a wide range of services for
feature film post-production and presentation. DCPSR contributes its ultra
well-appointed 21-seat theater and associated rooms at Lantana, as well as it’s
just installed Christie CP-4220 4K Digital Cinema projector and other 4K
upgrades. Riverbed’s Chris F. Woods manages dailies processing, VFX, title
design and production, color-grading, and mastering with his state of the art
finishing hardware and software.

Describing the collaboration as “high-end digital cinema
screening room meets state-of-the-art digital cinema post production,” the two
companies will continue to deliver studio-caliber services at independent film
rates and now have the added capabilities for 4K digital cinema post-production
and theatrical presentation.

DCPSR and Riverbed Post actually started working together on
an ad hoc basis last June, when Woods moved his equipment to DCPSR. Before the
digital equipment was even in the DCPSR building, DCPSR manager, David
Garonzik, had booked sessions for The
Revenant and Point Break. Within
24 hours, visual effects (and editorial) screenings on The Revenant, Point Break, and
later, The Huntsman Winter’s War, as
well as post work for several independent features, were underway. That initial
level of demand led them to expand the relationship.

Woods notes that the co-location provides a unique solution
for major studio productions and their filmmakers by allowing them to “stress
test” complex visual effects sequences in numerous ways. The work is screened
(most recently as DPX frames, though it can be virtually any format) with 2K
(and now 4K) digital cinema quality aided by a colorist with deep VFX
experience. This real-time, temporary digital intermediate work allows the
filmmakers, including the VFX department, to optimize the final VFX imagery and
saves time with the VFX vendors, and/or the final Digital Intermediate.

Clients seem to like the way the alliance works; especially
the high degree of personalized service, devoid of corporate bureaucracy. Rich
McBride, VFX Supervisor on The Revenant, said
of the visual effects screenings through a full DI system,  “It was always a positive,
productive, and professionally run experience. I also appreciated the relaxed
atmosphere and comfort
in the 2K reviews.”

“On Point Break, we used the dick clark
productions Screening Room with Chris Woods on the Davinci there, and it was
great. We got quality and precision for a fraction of what we might have spent
elsewhere. It was also a short five minute walk from our cutting room
so we even got some exercise.” add VFX Supervisor, John Nelson.

Garonzik explains, “The screening room at DCPSR offers
privacy, security, easy parking, and lots of amenities. And the Lantana Center
location in Santa Monica is within walking distance of EPS-Cineworks, Tribeca
West, and other production and post-production offices. That all adds up to a
lot of convenience.”

The two companies also offer a compelling choice for
independent productions seeking comprehensive post-production services.
“Filmmakers appreciate the high level of digital fluency that we offer here.
Our shared overhead allows us to offer a high-level of services at rates even
independent filmmakers can afford,” Woods says. “We offer an unbeatable
combination of pricing and studio-quality post.”

Post-production services include digital intermediates, final color correction, main and end title design and production, visual effects, mastering, and
workflow services.

“It’s a perfect marriage,” says DCPSR’s David Garonzik. “We
have beautiful, first-rate screening facilities and a great location in Los
Angeles’ Westside Media District. Riverbed’s Chris Woods is a very talented
colorist and finishing artist with deep knowledge and experience in every
aspect of digital post.”

DCPSR is the screening room of choice for top filmmakers and
film critics alike, featuring an intimate, DCI-compliant, acoustically designed
theater with a floating floor and luxury seating. DCPSR installed a brand new
Christie CP-4220 4K digital projector as well as a GDC 4K digital cinema
server, and other 4K pipeline upgrades. It also features a 17’ X 8’ screen and
7.1 Dolby surround sound. Amenities include a lounge, meeting rooms, and food
service. Garonzik has been managing the dick clark productions Screening Room
since 2012.  Previously, he managed a
screening facility for Miramax Films for 7 years.

Woods’ career as a colorist, visual effects supervisor and
producer includes hundreds of feature film, commercials, and television
projects. He began his career with the New York design and film production
studio R/GA, where he set up one of the early CGI and other digital
departments. Woods also spent two years at Walt Disney Animation on “The
Dinosaur Project,” as Manager of Technology & VFX Supervisor. He has been a
free-lance colorist, designer, finishing artist, and VFX supervisor ever since
he got to LA. Throughout, he has remained on the leading edge of technology,
from putting the first feature through the Kodak Cineon 35mm film scanner and
film recorder, to creating the first digital film department featuring the
Flame and Inferno systems. More recently, Woods led a project partnership with
Sony and Paramount for the first public demonstration of the ACES workflow at
his former company, CinemaPixel, on the Paramount lot during Cinegear 2010.

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