|Page (1) of 1 - 12/20/01||email article||print page|
PostWorks New York Takes DV to Film For Miramax's PineroWork includes online, color correction, and visual effects (December 20, 2001)
Strongly evocative of the two decades that marked Pinero's rise and fall, the film's fierce look manages to be simultaneously authentic and highly artistic. However, achieving that look required a technically complex collaborative "There are a lot of post houses that talk about tape-to-film but none that I know that can truly get you from beginning to end," says the film's executive producer, Tim Williams. "PostWorks New York demystified the process."
Post Works New York provided systems for Pinero's picture editing, as well as the online, color correction, and visual effects. But PostWorks also put a unique twist on taking tape-to-film directly from the Unity Server to the film recorder.
PostWorks co-founder and CEO, Bill Baldwin explains, "Our end product, film, is a successive string of individual progressive RGB frames running at 24 frames per second. The film recorder writes from individual progressive RGB files at resolutions in excess of 2K; blown up from the lower video resolutions as YRB files, prior to which they must be de-interlaced (or field merged, often softening the image). But because the YRB color space is different from the RGB, color is not always truly reproduced. Although digital, each process degenerates the image. It's the digital equivalent of losing a generation. That's why it's important to reduce the amount of times the image is translated, blown-up, or processed to as little as possible. It is also why Avid's Symphony was such a perfect tool for the workflow. When using the Symphony in a progressive mode there is no de-interlacing or field merging that could possibly soften the image."
PostWorks New York used the Symphony Universal for 24P mastering to meet most all of the deliverable requirements such as color correction, slowdown from PAL to 24fps/NTSC for sound edit, as well as image manipulation such as dust busting (the ability to remove dirt from the film), glitch fixes, graphics and visual effects.
Further advantages of finishing on the Symphony offered the ability to make editorial changes to the locked picture. "If you are fortunate enough to sell your film you will quickly discover that distributors tend to impose their creative changes even after the film has been finished, " said Pinero Editor, David Tadeschi.
Though an important film for everyone involved creatively, the success of Pinero was dependent on a technically process that had never been used by the producers before. "The decision to go with Post Works was not one we took lightly. We needed a partner in the process and PostWorks New York designed and executed this process from beginning to end," says Williams.
With two separate, fully networked, post production facilities, Post Works, New York boasts over 14,000 square feet of non-linear off/on-line editing suites featuring Avid Symphony and Media Composer systems. Audio facilities feature DigiDesign's Pro Tools. Over 45 mobile systems are available for on-site installations. The company is a development partner with Avid, as well as Wam!Net's Video Delivery Service, allowing creative teams to collaborate and share broadcast quality media in near real-time from anywhere in the world. Clients include HBO, Viacom, VH-1, MTV, ABC News, National Geographic, directors Barry Sonnenfeld, Mike Nichols and Sydney Lumet.
The company's senior management includes Co-Founder, and Chief Operating Officer Billy Baldwin, Chief Financial Officer Robert E. DeMartin, Jr.; Director of Marketing/Public Relations Tiffany DeMartin; and Director of Sales Anne Bakoulis.
Related Keywords:post production, 24P, Avid, Symphony, color correction, film
Source:Digital Media Online. All Rights Reserved