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PostWorks NY Details 2k DI for ?Everything Is Illuminated

PostWorks, New York, the east coast's most advanced and comprehensive post production resource, today detailed its 2K Digital Intermediate (DI) support for the feature directorial debut of renowned actor Liev Schreibers feature film, ?Everything Is Illuminated.  PostWorks served as the hub for the project, achieving seamless coordination with the production and VFX work in Prague, facilitating input from New York-based creatives and from Los Angeles-based studio executives at Warner Independent Pictures.  The film debuted theatrically in Los Angeles and New York on Sep. 16, and will continue to roll out in selected cities across the U.S. over the weeks ahead.

To bring the screenplay he personally adapted from Jonathan Foers novel to the screen, Schreiber and his producers, including Marc Turtletaub, Peter Saraf and executive producer Matthew Stillman, assembled an all-star cast and crew.  Schreibers choice to serve as his director of photography was Matthew Libatique, A.S.C., well known for his work with Darren Aronofsky on the features ?Requiem for a Dream and ?Pi, has also lensed films for directors including Stephen Gaghan, Mathieu Kassovitz, Joel Schumacher and many others.  Schreiber also enlisted accomplished film editor Craig McKay to cut the film, whose awards in editing include an Emmy for the NBC miniseries ?Holocaust and Best Film Editing Academy Award nominations for ?Reds and ?The Silence of the Lambs.

The ability to handle the DI in 2K in New York was critical to PostWorks landing the project.  ?With Liev needing to be in New York to perform in Glengarry Glen Ross on Broadway, with Matty in town shooting films for Spike Lee and Darren Aronofsky, and with Peter Saraf based here, we found them all very happy to learn that they could edit their film and finish it using a 2K DI approach, all under one roof in New York City, said PostWorks president Billy Baldwin.

Filmed over 42 days on location in Prague and within the citys Hostivar Studios, the films executives relied upon film processing in the Czech Republic via Barrandov Studios, while McKay and his crew in New York began creating the offline edit in Avid Adrenaline suites at PostWorks.

Working closely with Libatique, PostWorks colorist John Crowley then used the Pandora Color system, in conjuction with Quantel iQ, to perform a highly stylized color-grade in the companys DI Theater.  ?The photography of this film was absolutely extraordinary, said PostWorks' DI colorist John Crowley.  ?Matty was not afraid to push and experiment with some of the looks in the film.  We needed to come up with multiple color corrections that would depict the different emotions within the story; on some scenes, we tried to stay as ?natural as possible by combining well- balanced skin tones and keeping an ?uncrushed black level. On others, we went very stylized by ?popping contrast, desaturating colors and adding some color to the low lights, which gave us a unique and gratifying look.

?It was important for me to preserve the original intention of the films visual arc, Libatique explained.  ?To accomplish this, John and I resisted the temptation to saturate and increase contrast for the majority of the film, instead relying on the light of Eastern Europe and the quality of 5277 to be the guide.  This discipline pays off towards the end of the film, as the look evolves into its end and truth is revealed.

While PostWorks served as the center of the films post- production operation, the Quantel iQ formed the center of PostWorks DI environment.  The films visual effects sequences were created at UPP in Prague and shipped on Firewire drives to PostWorks, where the content was loaded into the iQ for conforming by online editor George Bunce. Subtitles were added to the color-corrected 2K material in iQ as well, and versions of the film with and without subtitles were printed via the Arri Laser film recorder. The films main titles, created by Randy Balsmeyer and J. John Corbett at Big Film Design, were also scanned at 2K resolution at PostWorks and mastered as part of the DI process.

The Truelight system from Filmlight gave Crowley the ability to master Libatiques vision by providing end-to- end calibration of color in all conform and grading suites, and assuring absolute color accuracy in the digital-to-film print process.  The footage was so highly stylized that the look up tables had to be extremely accurate; there was no margin for error.

More information on the film is available on its official website:

PostWorks DI operations fully support the editing of picture and sound, handling of color-grading and visual effects completely within the digital realm.  Recent DI clients include Phil Morrisons ?Junebug, Griffin Dunnes ?Fierce People, Spike Lees contribution to UNICEFs ?All the Invisible Children collaborative feature which recently debuted at the Venice Film Festival, the 2004 Academy Award-nominated films ?Asylum (short), ?Capturing the Friedmans, ?My Architect and (Oscar winner) ?The Fog of War, as well as IFC Films' 2003 Sundance Grand Jury Prize nominee ?A Decade Under the Influence and dozens of theatrical spots, trailers and national/international broadcast campaigns.  PostWorks team also made major contributions to 2005 Oscar winner ?Born Into Brothels, 2005 Oscar nominee ?Tupac: Resurrection, 2005 Sundance Film Festival American Documentary Grand Jury Prize-winner ?Why We Fight and 2005 Sundance American Documentary Audience Award-winner ?Murderball, among many other high-profile film, television and short-form projects.

About PostWorks, New York
Since 1995, PostWorks, New York has emerged as the region's only full-service film and High Definition post facility. Located in SoHo, PostWorks sets itself apart by offering scalable production offices, rentals and the highest level of commitment to quality and customer service.  PostWorks enlists an elite team of artists, engineers and producers and has optimized its entire operation for non-linear, High Definition and Digital Intermediate technologies. Our clients include Oscar winning filmmakers, network and cable television programs and award winning commercials and music videos.  For more information, please call 212.894.4000 or visit

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