Matt Damon on set during during production of Jason Bourne. Credit: Universal Pictures Blackmagic Design’s DaVinci Resolve Studio was used to complete the online edit, color grade and HDR delivery for Jason Bourne. Goldcrest Post, London provided full post production services for Bourne director Paul Greengrass. The ever growing community of professional and aspiring colorists and editors who rely on DaVinci Resolve will be happy to see one more high-profile production finished using this software. It’s yet another testimony to the power of the system, as well as of the hard work and innovative development that has been invested in Resolve by Blackmagic Design. While some were skeptical when Blackmagic Design made the move to add NLE functionality to Resolve, it is arguably the most significant decision in the history of this software. Turning Resolve into a fully-featured NLE, with the most seamless workflow of any editing or grading solution on the market has catapulted Resolve into the hands of more creators than anyone could have imagined. Resolve is now relied upon as the heart and brain of more post production workflows than ever before. Seamless Fluidity, Real-Time Collaborative Workflow For Universal Pictures, the online edit and grading of Jason Bourne were in the capable hands of Goldcrest’s Sinéad Cronin and Rob Pizzey respectively. “Working on the project together in DaVinci Resolve Studio allowed us a great deal of fluidity, and we were able to collaborate closely throughout,” reveals Cronin. “I could conform and work on the online edit in Resolve’s Media and Edit pages, whilst Rob could render a grade on the Color page at the same time.” The Asset (Vincent Cassel) in Jason Bourne. Credit: Jasin Boland Resolve’s seamless workflow between editorial and finishing, and its collaborative workflow features seem to be the central theme of its success with Jason Bourne. “There’s so many action-packed scenes, with extended chase sequences and set pieces, so the scale of postproduction was huge; for example, one of the reels had more than 1,000 cuts. Timescales were tight, and I would work on a section of the online edit, knowing that Rob would be in the theater ready to grade with the client. Everything we did in Resolve was in real time, which really helped us to work to a tight deadline,” explained Cronin. Color When it came to color, there were some specific creative requirements to create location-specific moods and looks. Having previously collaborated with Greengrass and cinematographer Barry Ackroyd on a number of films, colorist Pizzey had an extensive understanding of how the team wanted to use the grade to enhance the action. “In Jason Bourne, there are sequences in Las Vegas, Athens and Berlin and an important part of the grade was to differentiate the mood and feel between these locations…but to ensure the overall aesthetic of the series remained in evidence,” he explains. Paul Greengrass, the director of The Bourne Supremacy and The Bourne Ultimatum, once again joins Damon for the next chapter of Universal Pictures’ Bourne franchise “Barry and I worked during preproduction to produce templates in Resolve from test footage, which would then act as a base for Barry to check his lighting on set, and for processing the rushes. Deploying Resolve at the preproduction stage meant that when we came back together to do the final grade, the sessions were extremely smooth and productive.” The grade was also used to enhance the film’s editing, particularly in the action sequences. “One of my favorite sequences in the film to grade takes place in Athens, which was shot entirely at night. As the action is on the streets, which are filled with layers of smoke, and a fire unfolds, the edit intercuts scenes from a CIA control room,” explains Pizzey. “I kept the CIA room very cool and clinical, with a blue palette to differentiate from the warm, realistic riot scenes. Using Resolve’s grading toolset with some shape work, I was able to reflect some of the warmer tones from the screens in the control room back onto the actors’ faces. It was a very subtle, but extremely effective contrast within a key sequence.” Heather Lee (Alicia Vikander) in Jason Bourne. Credit: Jasin Boland HDR Delivery The Goldcrest team worked in full 4K throughout the project, and also deployed DaVinci Resolve Studio’s new high dynamic range capabilities to deliver the film in HDR for the first time. “HDR isn’t just a new delivery format, it’s a fantastic creative playground for production teams to deliver a completely new experience to audiences. These capabilities, combined with the NLE toolset and grading capabilities, make DaVinci Resolve a complete storytelling device,” concludes Pizzey.Read more
We are very gear-centric here at cinema5D, but everyone’s aware that filmmaking is so much more than the latest and greatest camera or lens. Anyone who has been working on a film shoot has most likely made the experience that we work longer hours than most other professions, sometimes at crazy times of the day or on weekends, often at the expense of personal relationships with friends or family. I have just discovered this documentary gem on Vimeo by the renowned cinematographer and 2-time Oscar winner Haskell Wexler, ASC, who started this project together with another cinematography master and 3-time Oscar winner, the late Conrad Hall, ASC (“American Beauty”), who died during the making of this film in 2003. Don’t expect a cinematographic masterpiece here, but rather a gritty little no-budget documentary shot by Haskell Wexler with virtually no crew on a Mini-DV camera, motivated by the sheer frustration with the insane work hours that workers both in Hollywood productions and internationally are expected to put in every day. It’s already more than ten years old but hasn’t lost any of its relevance – within those ten years, technology has fundamentally changed the accessibility of high-standard production quality, however the amount of work hours on average film sets haven’t decreased at all. It’s as relevant as it was on the day of its release. Documentary 2006 directed by Haskell Wexler ASC Synopsis: A documentary that highlights the deadly combination of sleep deprivation and long days of work. Focusing in particular in the film industry. Unsettled by the preventable death of a coworker, filmmaker Haskell Wexler learns that sleep deprivation and long work hours are a deadly combination. Interweaving medical findings with personal accounts, his camera reveals how a 24/7 work culture affects all Americans. Runtime: 78 min OFFICIAL WEBSITE: http://whoneedssleep.weebly.comRead more
Watch previous episodes of ON THE COUCH & ON THE GO by clicking here! Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes! In this latest episode of ON THE COUCH, visual effects whiz kid turned director Hasraf “Haz” Dullul talks about how he made his way into securing a feature film deal, after spending years working for visual effects companies in the post production department of various feature films. He successfully created a number of short films that garnered a lot of attention online, most notably “Project Kronos” and his latest short film “SYNC”, both available on Vimeo. He talks about how he manages to create incredibly high production value with small budgets, and how his background in post production helps him “making effects look expensive” when they actually often aren’t. Check back mid next week for the 2nd part of this episode, when we will see more behind the scenes on Haz’s short films and how he achieves his distinct look. Also check out his short films here: Watch all other episodes of ON THE COUCH so far by clicking here! Please visit our sponsors’ websites to keep new episodes of ON THE COUCH coming! Thanks to G-Technology, Røde Microphones, Movidiam, FilmConvert & F&V.Read more
Watch previous episodes of ON THE COUCH & ON THE GO by clicking here! Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes! This is the first episode of ON THE COUCH from Cine Gear 2014 here from the Paramount Pictures Studios lot here in Hollywood, California. Thanks to our sponsor G-Technology we were able to welcome Alex Buono, director of photography at the Saturday Night Live film unit, and his colleague Adam Epstein who’s the editor on the show. We talked about the incredible turn-around times these guys have to deal with when producing the show every week. Alex and Adam and the entire team behind SNL have brought a high quality film style to the show for a lot of the sketches that air every week. The incredible thing about them is that they have to work in the shortest time frames to get these done – with preproduction done on Thursday, production on Friday and editing on the Saturday right before the show airs every Saturday evening at 11:30 pm. We also touched on the right equipment choices for these setups and how everything regarding technology, cameras and lighting has changed since Alex started working on SNL about 15 years ago. They went from film stock to Mini DV and then through the whole “DV revolution” and then the “HD revolution” and DSLRs until where we are today, where we have basically all the choices available. I found it interesting to hear that despite their crazy turn around times, they shoot on all kinds of cameras that produce all kinds of different data rates and codecs – so it is a process that needs to be adjusted every week depending on the piece they shoot. To watch all ON THE COUCH episodes so far, click here.Read more
To watch all ON THE COUCH episodes so far, click here. On the go? Subscribe to the Cinema5D ON THE COUCH audio and video podcasts on iTunes! We are happy to announce that we are about to start recording the 2nd season of ON THE COUCH, our talk show format that we premiered only two months ago at NAB 2014. Together with Johnnie Behiri, our friend Misa Garcia and sound man Mike Jarzabek I am now here in Hollywood floating between the Cine Gear 2014 venue (Paramount Studios) and the W Hollywood Hotel – on both locations we will record a number of new shows for our audience. Thanks to our dear sponsors G-Technology, Rode Microphones, Vitec Videocom, Post Magazine and OWLS Media, we are able to bring you another season of our talk show. There are two special shows that will be shot on the Paramount Studios lot in a presentation suite, and you can be part of the audience – just stop by!! Here’s the schedule and guest list for the public recordings: • Friday, June 6, at 02:45 pm – Alex Buono & Adam Epstein (DP & editor at Saturday Night Live – Film Unit) Location: Presentation Suite No. 5 – Sherry Lansing Theater (see map below) • Saturday, June 7 at 03:00 pm – Shane & Lydia Hurlbut (DP of Need for Speed 7, Deadfall, Terminator Salvation …) Location: Presentation Suite No. 5 – Sherry Lansing Theater (see map below) Here are the other shows that we are going to record at our suite at the W Hollywood (massive thanks to G-Technology for organizing this location!!) • Tom Guilmette & Kessler Crane’s Chris Beller • Jeff Cree, SOC & Randy Wedick • Michael Artsis, David Linstrom, Vitec Videocom: Sherry Fragomeni, Ali Ahmadi, Andrew Butler • Post-Production session (sponsored by POST MAGAZINE): The Voice & Discovery Studios: Robert M. Malachowski, Jr., Supervising Editor and Grant Masson, the Associate Online Editor, Justin Bloch, manager of media for Discovery Studios • Jem Schofield (speaking also for sponsor RODE) PLEASE feel free to send us questions you might have for any of our guests, we will do our best to ask all of them! Either comment on this post or drop me an email via nino[at]cinema5D.com. Watch out for the new episodes to be posted over the course of the next days. To watch all ON THE COUCH episodes so far, click here.Read more
Watch previous episodes of ON THE COUCH & ON THE GO by clicking here! Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes! This is a very special (sixth) 50 minute episode of ON THE COUCH, in which we had the pleasure of hosting my friend Rodney Charters, ASC, best known for his work as director of photography on “24”, “Shameless” and now the new “Dallas”, Bruce Logan, ASC, best known for his work on the original TRON, the original Star Wars films and Batman Forever, as well as the owners of Zacuto, Steve Weiss and Jens Bogehegn – both of them shooters with decades-long experience in production themselves!Read more
We only send updates about our most relevant articles. No spam, guaranteed! And if you don't like our newsletter, you can unsubscribe with a single click. Read our full opt-out policy here.