Posts Tagged ‘In A Place Post’

Milked

February 8, 2011

Last week we color-timed the Lactaid-sponsored GOURMOO COOKOFF web series at In A Place Productions while Andy Hay (who just back from Sundance where he had two films playing, including the festival’s darling LIKE CRAZY) cleaned up, sweetened and mixed our sound. It was an incredibly easy phase of post-production — which is the norm when I get to work with this aces team of awesome post peeps. Heck, we got ahead of schedule because everyone is so badass.

Today we delivered the gorgeous looking and sounding FINAL VERSIONS of all five episodes!

I’ll let you know the second the series is available for viewing on Moovision.

Color Timing: Before and After

December 15, 2009

I’m trying to wrap out APPOINTMENT IN VANCOUVER from the Big Mac.  In the rumble, I found Before & After moments from film.  They are awesome evidence of the magic of color timing at In a Place Post.

The “Befores” represent our untreated, raw footage.  The “Afters” are the result of colorist Moritz Fortmann.  Moritz worked expertly with my cinematographer and I to achieve a certain look for the story. It was a joy to collaborate with him and see our visions become realities.

Because we were dealing with media from a variety of sources, a lot of the correction was about making the footage look uniform.  In general, we crushed the blacks, made skin tones consistent, unified the “worn-out” look of still photos, and added grads to the landscape shots.  Befores are on top of the Afters.

Our most creative work appears in a sequence in which Casey recounts the story of his first big win (’91 World Junior Championships).  The Before is on the left; After on the right.  We used footage that I shot of a mountain and sky from a chairlift — footage we had originally thought we had no use for.  However, when married to Casey’s narration, the visual looked as if it was through Casey’s eyes.

Casey describes transcending his nerves and finding a Zen “zone” to race.  His skiing became effortless and graceful.  Visually, we cut to helmet cam footage of a lone skier gliding through gates like a bird in the clouds.  This footage was shot on a completely different camera and at a much lower quality than the sky shot.

We made these shots appear to be from the same place and time by imbuing them the same style.  But more importantly, we told our story by creating a dreamy, ethereal look that complimented Casey’s story of composed confidence.

Appointment with Done(ish)

November 27, 2009

So much to update you on! It’s almost daunting.  Especially since I’m squeezing this post in while LAB and I stop in at Starbucks for email-checking.  You can assume that the longer my blog is dormant the busier I am.  This is not a woo-is-me statement. Busy is good.  In August when we went to see sweet Ellen, the powdery soft skin sunshiny tarot reader-clairvoyant, she told me the next three months would set the tone of my career for the next fifteen years.

The next FIFTEEN YEARS.  My response: !!!  Ellen’s response, “Oh, that just freaked you out, huh?”

If the next fifteen years are as busy as these autumn days, I’m a lucky filmmaker.  If they are as profit indeterminate, I’m an uneasy filmmaker.

The big news has been eked out step-by-step via my tweets and Facebook statuses:

The editing, sound mixing, color correcting, and mastering to DVD of APPOINTMENT IN VANCOUVER is done!

In about a week, the DVD will be available for purchase on our newly revised website, IndieFlix and Amazon.

I’m proud of us. We met our deadline of making AIV obtainable to holiday shoppers. To achieve this goal, there has been some major hustling like….

  • Bringing on one of my favorite composers, Chris Westlake, to compose music when our original composer’s system crashed two days before our sound mix.
  • Working with the incredible Andy Hay (and his six-fingered cat, Cody) and having to ask him to extend our time as Mo, our indomitable music supervisor who secured 12 tracks with a $0 budget, scrambled to license our credits music and Chris delivered the final, emergency-ordered, PERFECT tracks.
  • Combing through our raw footage with Andy guiding me via AIM to find background sound bytes to fill newly found sound ‘black holes.’ I’m so grateful for Andy’s sense of humor – as wacky as mine and as delightfully fitting for AIM giggles.
  • On Halloween, calling up our grad school colleague and the production designer of my first project at AFI talented Megan Hutchison in Portland to ask yet another favor of a friend: can you design our DVD jacket, disc and menu art?  She said yes.  I LOVE the art. It’s edgy, brave, masculine, epic, arresting, memorable and included in this entry.
  • Calling in Stephanie Hernstadt to do our credit roll on AfterEffects because in FCP they look jittery.  BTW I love our main credits — I did them late one Thursday night; beautiful landscape shots of mountains and ski resort visuals with our names cleverly inserted into the the images.
  • Working out one frame color-correction render glitches with Dominique. This was one of my favorite issues to remedy because it meant I got to hang with Dom at In A Place Productions a lot… which is the second most Zen place in LA (first is my house).
  • Spending a solid week fighting DVD Studio Pro and iDVD creating a master DVD of the film. To save a few hundred dollars, I dedicated hours and hours, dozens of test DVDs, and a new level of patience figuring out how to create an SD disc from HD mixed footage.

Now the PR and marketing hustle begins.  As Seth, the film’s producer loves to tell me, we aren’t done. We’re just beginning.


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