The post New York City’s School of Visual Arts Buys 30 EVA1 5.7K Cameras appeared first on ProVideo Coalition.
Blackmagic Design’s new Blackmagic Pocket Cinema Camera 6K is highly capable Super35 cinema camera “hiding” in a DSLM body (Digital Single Lens Mirrorless). There are many things to like. For many, it is the new, larger, 6144 x 3456 Super35 sensor. The effective image area is 23.10mm x 12.99mm. It has an EF lens mount.
How does the Blackmagic Pocket Cinema Camera 6K compare to the Pocket Cinema Camera 4K? The 4K model, shown below, was introduced last year. It has a Micro Four Thirds (MFT) size 18.96 x 10 mm sensor. The MFT lens mount’s Flange Focal Depth is 19.25mm and its inside diameter is 21.64 mm Ø. read more…
Lightcore is a portable one-source LED light designed by the Swedish company Approach Design studios and it is promoted now in a Kickstarter campaign. The light produces 5800 lumen of 5000K color temperature light with a 120° spread. It is flicker-free, 1-100% dimmable, and multiple units can be controlled with a smartphone app via Bluetooth mesh. Lightcore has active cooling and it comes with two 1/4″ UNC screw mounts and it is compatible with custom made light modifiers. There is still a chance to pledge and get the light.
The Swedish company Approach Design studios is based in Stockholm. They launched a Kickstarter campaign for their new product – a compact LED light called LightCore. It has not been fully funded yet, but there is still enough time to meet the funding goal. What are the features of this tiny LED light?
Lightcore – Compact LED Light
Lightcore is an ultra-portable video light with patent pending tech which fits most existing Bowens S-mount adapters to accept a wide range of light modifiers. With the dimensions of 51 x 110 x 51 mm (~2″ x 2″ x 4″) and the weight of ~250g (~9oz) really is very compact.
At 5800 lumen (480W tungsten equivalent) the Lightcore is also quite strong. It has a 120° spread that works great with softboxes. The color temperature is a balanced daylight 5000K. The Japanese custom made LED COB is good for a minimum of CRI 97. The light is dimmable between 1% and 100% and it is flicker-free along the whole intensity scale, even at 1% power and in 120fps slow motion.
There is no built-in battery to keep the compact size. Lightcore can be used with any 60W USB-C power adapter. Users can use one from a laptop, a power bank or a compact adapter which is included with every Lightcore.
To deal with the heat produced by the powerful LED, Lightcore has an active cooling system with a fan that transports the heat away from the LED and prevents the case from getting too hot to handle. The heat is constantly monitored by the Lightcore’s microcontroller and the fan speed is adjusted to suit the output power and ambient temperature.
To enable users to easily shape the light, Lightcore creators designed compact and stackable light modifiers that snap on to the Lightcore with magnets. These currently include a Fresnel lens, color filters, and a dome attachment. Further light modifiers are in development. The light modifiers can be bought at the time of shipping.
Lightcore has two standard 1/4″ UNC screw mounts so that the Lightcore can be easily attached to a camera, cage, tripods, light stands, etc. Since there are two screw mounts, it can be stacked with monitors, mics, or additional Lightcores. It comes in a standard purple color, but more colors like black and green can be unlocked as stretch goals if the funding goes really well. Lightcore is designed in Sweeden and it will be manufactured in Japan.
Light Control App and Bluetooth Mesh
Approach Design studios also made a light control app for iOS and Android, that controls the LED units, remembers settings and self connects after turning off. Lightcore LED lights communicate with the smartphone through Bluetooth Mesh, which allows users to connect as many Lightcores as they like and not all units need a direct connection to the phone, they can connect via another Lightcore unit.
Every Lightcore unit has a thin Color ID LED stripe at the back which is visible from any angle. Color ID is used for grouping so users can instantly see which group which Lightcore belongs to. Users can also switch groups and control the power of the group directly on the control panel of the Lightcore.
Lightcore Key Specifications
- Light output: 5800 lumen (480W tungsten equivalent)
- Color accuracy: 97 CRI minimum
- Color temperature: 5000K
- Light spread: 120°
- Power range: 1%–100%
- Dimensions (WxDxH): 51 x 110 x 51 mm (~2″ x 2″ x 4″)
- Weight: ~250g (~9oz)
- Wireless control: Bluetooth 5, Bluetooth mesh
- Microcontroller: ARM Cortex-M4
- Power delivery: USB-C PD (20V 3A)
- Power consumption: <50W
The rewards on the Lightcore Kickstarter campaign start at $229 for the limited super early bird kit. After these are gone (at the time of writing there are only 12 pieces left), the early bird price for one kit is $250. There is also an option for a two-piece set for $478 or four-piece set for $914. One set always includes one Lightcore LED light with a 60W USB-C power adapter and a 3m USB C PD Cable.
In case this campaign gets successfully funded, the creators of Lightcore are aiming to start sending out the rewards to all Kickstarter backers in March 2020.
What do you think of the new Lightcore LED light? Do you use some portable LED light for your productions? Let us know in the comments underneath the article.
The post Lightcore – Compact One-Point-Source LED Light With 5800 Lumen Output – Now on Kickstarter appeared first on cinema5D.
The Art Directors Guild (ADG, IATSE Local 800) has announced that Production Designer Stephen Myles Berger will receive a Lifetime Achievement Award from the Set Designers and Model Makers (SDMM) Council at the 24th Annual ADG “Excellence un Production Design” Awards. The 2020 ADG Awards will be held at the InterContinental Los Angeles Downtown in […]
Some may ask: “Has hell frozen over?” when they hear that the worldwide known mic manufacturer from Australia (RØDE) has just announced that it has added a dedicated equalization preset for the iconic RE20 dynamic microphone from Electro-Voice (from the United States) to the multifaceted RØDECaster Pro mixer/recorder. In fact, RØDE indicates that they made the preset in in collaboration with the Electro-Voice team. Ahead is the full press release and a video statement from Peter Freedman, chairman and founder of RØDE Microphones.
The original RE20 is the personal favorite of my friend Chris Curran of Podcast Engineering School who has been a guest on my BeyondPodcasting show several times, as I have been on his.
Link to my many articles on the RØDECaster Pro
Full press release, with authentic Australian spellings
RØDE Microphones today announces a very special addition to the RØDECaster Pro Podcast Production Studio – a brand new preset tailored specifically to the iconic broadcast microphone, the Electro-Voice RE20. As part of the ongoing enhancement of the RØDECaster Pro’s firmware (which has already seen the addition of multitrack recording and many other powerful features since its release in 2018), the new preset further cements the console as the ultimate production tool for podcasters. Electro-Voice is a legendary company with a lauded history creating microphones for broadcast and studio use, and we are proud to have them on-board.
First introduced in 1968, the RE20 is a classic dynamic mic that has been used in countless broadcasts and studio recordings. Its smooth tone and immunity to the bass-boosting proximity effect has made it a favourite amongst radio hosts, podcasters, and other broadcasters.
A long-time fan of Electro-Voice, RØDE Founder and Chairman Peter Freedman AM is thrilled to announce the partnership:
“Electro-Voice is a company that I have known and respected since I started in the audio game, and the RE20 is certainly an iconic microphone,” he says. “I’ve been an avid collector of microphones for many years, so you can imagine our excitement when some of the engineers at Electro-Voice recently approached us and asked if we’d be interested in putting a preset for the RE20 on the RØDECaster console.”
Developed in collaboration with the Electro-Voice team, the preset was designed to make the RE20 shine in vocal applications on the console and interact seamlessly with the RØDECaster’s audio processing. It can be found in the RØDECaster Pro’s audio settings alongside presets for RØDE mics (the PodMic, Procaster, Broadcaster, NT1, and NT1-A), as well as the universal presets for dynamic and condenser microphones.
The preset is available in firmware version 2.0.4, which can be downloaded from the RØDECaster downloads page. Keep your ears peeled for more RØDECaster Pro firmware updates in the future!
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Almost as light as a smartphone, the new DJI Mavic Mini drone captures high-quality footage including 2.7K video at 30fps, 1080p at 60 frames per second, or 12-megapixel photographs.
Designed to be the everyday FlyCam, the new DJI Mavic Mini takes the company into direct competion with solutions from other companies. Portable, easy to fly, designed for safety and perfect for everyone who wants to experience the fun of flying, the drone may look like a family toy, but may well be an attractive solution for travellers who need/want to take a drone with them but aspire to a solution that is easy to fit inside a backpack.
The DJI Mavic Mini seems to fit the bill, while offering, says DJI, a high-grade camera able to capture “compelling footage in high definition”. If you don’t need 4K, the new drone “offers pilots the ability to capture high-quality footage including 2.7K video at 30fps, 1080p at 60 frames per second, or 12-megapixel photographs using the 1/2.3-inch sensor. A three-axis motorized gimbal supports and stabilizes the camera, ensuring the footage is smooth and cinematic, making it perfect for sharing on social media.”
QuickShots and a CineSmooth mode
The new DJI Fly app is intuitively designed, simplifying the flying and content capturing experience so that pilots of all skill levels can make the most of Mavic Mini. Dedicated tutorials are included to help new pilots learn about flying, and pre-set editing templates add a new level of creativity to the footage. New pilots can choose to fly in Position (P) mode for basic operation, more experienced pilots can unlock more capabilities in Sport (S) mode, and content creators can choose CineSmooth (C) mode to lengthen braking time for smoother shots and more cinematic footage.
It doesn’t end there, though. To make it easier to capture high-quality footage the drone features a series of pre-programmed flight maneuvers known as QuickShots that allow users to explore some of the techniques used in Hollywood films, with just a few taps. Just select your QuickShot and Mavic Mini will execute an elaborate preset motion while recording. The series includes:
- Rocket – the drone flies straight up into the air with the camera pointing downward following your subject. Set a height limit of 40, 60, 80, 100, or 120 feet.
- Circle – the drone will circle around your subject at a constant altitude and distance.
- Dronie – the drone flies backward and upward, with the camera tracking your subject. Set a height limit of 40, 60, 80, 100, or 120 feet.
- Helix – the drone flies upward and away, spiraling around your subject. Set a height limit of 40, 60, 80, 100, or 120 feet.
Mavic Mini: a challenging project
Mavic Mini builds on the technological innovations in DJI’s series of folding Mavic drones, from the original Mavic Pro through Mavic Air and Mavic 2, to pack professional-quality drone features into the lightest possible frame. That puts it in the safest drone category, which in many areas exempts it from regulations that apply to other, heavier drones. Still, DJI notes that “drone pilots must always understand and follow local laws and regulations.”
“To design a drone as lightweight, compact yet capable as Mavic Mini was one of the most challenging projects we’ve ever tackled at DJI,” said Roger Luo, President, DJI. “Distilling top-of-the-line features into a palm-of-your-hand drone is the culmination of years of work, and we are ecstatic to bring a new class of drone to the DJI lineup. Mavic Mini’s long flight time, ultra-light weight and high-quality camera makes it DJI’s everyday drone – and most importantly, it’s easy to fly, no matter your experience level with drones.”
New accessories available
A series of new accessories will allow pilots to get the most out of their Mavic Mini. Customers can choose from options including:
- 360° Propeller Guard: Provides a 360° guard for added safety.
- Charging Base: Charge and display the drone with this unique, illuminated station.
- Propeller Holder: Travel easier with the drone with the propeller holder that locks the props into place.
- DIY Creative Kit: Personalize your the drone with custom stickers or draw your own design.
- Snap Adapter: Attach a toy building brick or a mini LED display to the drone to write custom messages.
- Mini Travel Bag: Bring the drone everywhere with the custom bag that fits Mavic Mini and the controller perfectly.
- Two Way Charging Hub: Charge up to three Mavic Mini batteries or use the charging hub as a power bank.
Mavic Mini is now available for pre-order at store.dji.com, flagship stores and authorized retailers and partners. Mavic Mini will come in two purchase options, the standard version which includes Mavic Mini, remote controller, one battery, extra propellers and all necessary tools and wires for $399, or the Mavic Mini Fly More Combo which includes all of the components from the standard version with the addition of the 360° Propeller Cage, Two-Way charging Hub, three batteries in total, three sets of extra propellers and a carrying case for the price of $499. Mavic Mini will begin shipping on November 11.
The post Mavic Mini: DJI’s lightest and smallest foldable drone offers 2.7K video at 30fps appeared first on ProVideo Coalition.
DJI has announced the Mavic Mini, an ultra-lightweight folding drone that weighs just 249 grams. Mavic Mini builds on the fundamental principles of the DJI’s series of folding Mavic drones; to build professional-quality drones features with the lightest possible frame. With its small size and weight, Mavic Mini falls into the safest drone category, which … Continued
On the latest edition of CookeOptics TV, Cooke asks 10 cinematographers what their favorite light is, and why. Here are the cinematographers Cooke talked to: Phedon Papamichael ASC Todd Dos Reis ASC Kimisha Renee Davis Steve Poster ASC ICG Richard Crudo ASC Checco Varese ASC Dan Mindel ASC BSC Jess Hall ASC BSC Natasha Braier … Continued
Add top handle. LCD Viewfinder, and one of hundreds of E-mount lenses. This one is the new FE C 16-35mm T3.1 G. FE means Full-Frame E-mount. C stands for Cine Lens.
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Free Sony FX9 Camera Workshop at Band Pro Burbank HQ. The FX9 is Sony’s latest Full Frame digital cine camera. 6K Full Frame sensor with dual 800 / 4000 ISO, electronic variable ND filter, 16 bit RAW capture– in a compact and affordable camera body. A detailed presentation on the FX9 will be provided, followed by a Q&A and plenty of hands-on time. Snacks and beverages will be served. Space is limited. RSVP to reserve your spot. read more…
Please Note: Once you press play it will take a few seconds for the episode to start playing. How to Build a Profitable Horror Film with Stephen Follows Today on the show we have returning champion Stephen Follows. In this Halloween themed episode, we dive into Stephen’s opus, The Horror Report. The report was created by using data…
The post IFH 359: How to Build a Profitable Horror Film with Stephen Follows appeared first on Indie Film Hustle®.
On this week’s Go Creative Show podcast features 10 Years of Film Riot with Ryan Connolly. Film Riot has been extremely popular with indie filmmakers, and it is now celebrating its 10 year anniversary. Film Riot has over 1.5 million subscribers on YouTube. Ryan and Go Creative Show host, Ben Consoli, discuss how Film Riot … Continued
Shoten has a range of new lens adapters for Fujifilm X Mount, Sony E Mount, Micro Four Thirds Mount, and PL adapters for Canon RF mount, Nikon Z Mount, and RED. Here is a list of what is available: Fujifilm X Mount(all￥4,320) SHOTEN CY-FX (Yashika Contax Mount Lens → Fujifilm X Mount) SHOTEN NF-FX (Nikon … Continued
Flesh and Blood
Nadim Carlsen / Border
Flesh and Blood
Nadim Carlsen / Border
“Some scripts take a long time to read and digest, but this one was a real page-turner – intimate and strange, operating on many different levels – and I read it with great excitement in one sitting,” recalls Danish cinematographer, Nadim Carlsen, about his initial reaction to director Ali Abbasi’s treatment for Border.
The movie – a mix of romance, social realism and noir supernatural fantasy – is based on a short story of the same name by Swedish horror writer John Ajvide Lindqvist (author of Let the Right One In) who collaborated with Abbasi and filmmaker Isabella Eklöf on the screenplay.
The narrative follows Tina (Eva Melander), a customs officer at a ferry terminal who has the unusual ability to smell guilt and shame. Tina suffers from facial deformities which give her a Neanderthal appearance, and she lives a fairly isolated life in a secluded house in the woods with her boyfriend Roland, who is a dog trainer. Whilst separately aiding a police investigation into child pornography, Tina develops an unusual attraction to a strange ferry traveller with maggots in his luggage, named Vore (Eero Milonoff), who has a similar facial structure to her own. After this encounter at the border and their ensuing relationship, Tina soon discovers things, both terrifying and liberating, that call her entire existence into doubt.
Border won the Un Certain Regard award at the 2018 Cannes Film Festival, along with a host of favourable reviews from critics worldwide for its questioning of deformity, acceptance, self-worth and what it means to be human, along with many accolades for Carlsen’s sensitive, transgressive and earthy camerawork.
Principal photography on Border took place in Sweden over 39 shooting days, during October and November 2017, when the light is low in the sky and dark sets in early. Locations included the Kapellskär passenger ferry terminal between Sweden and Finland, located 90 kilometres north of Stockholm, as well as city and woodland locations around Gothenburg on the country’s west coast. Production days were typically eight-and-a-half-hours, although this did not include four hours for the application of facial prosthetics on the lead actors and a further hour for their removal, which meant they had very long days.
“In terms of the story Border is pretty far out, and not a regular movie by any stretch,” says Carlsen, who has been a regular collaborator with Abbasi since their days together at the National Film School Of Denmark. “In part there’s magical realism and even surrealism going on, so Ali and I were determined that the movie had to be credible-looking and grounded in reality, to make it believable for the audience.”
“You could say the original tale falls under the category of ‘Nordic-noir’, and many films and TV shows of this type have come to be couched in a sort of homogenous, corporate, controlled, cool-bluish, desturated aesthetic. We wanted Border to stand out from the crowd, to be far away from that bleak sort of style, but to still have a realist, naturalistic feeling – to embrace the warm, organic colours of nature at the start of the film, before the visual becomes more harsh and gritty towards the denouement.”
Visual references for Abbasi and Carlsen included the artworks of the Swedish painter and illustrator John Albert Bauer, whose work is concerned with the scenery and mythologies of Swedish folklore and fairytales, often involving gnomes and trolls, and Caspar David Friedrich, the 19th-century German Romantic painter, for his epic depictions of landscapes frequently featuring silhouetted figures and shrouding mists.
Further cinematographic inspirations were the films of French avant-garde filmmaker, Philippe Grandrieux, such as the inventive and radical Sombre (1998), for the dark, kinetic, abstract and visceral nature of the camerawork.
“We were not looking to create beautiful shots,” explains Carlsen, “rather, we wanted the camera to get into the moss and the mud, whilst retaining warmth and saturation to the image. We also wanted to create interesting juxtapositions between the characters, who would seem ugly and repulsive to most people, and the natural beauty of the woodlands. So early-on, we decided that going handheld throughout, and shooting primarily in available light, would give the production the level of realism, credibility and immediacy we wanted.”
Taking these considerations into his choice of cameras and lenses, Carlsen elected to shoot Border using an ARRI Alexa Mini fitted with Cooke S4 primes, composing the picture in 2.39:1 Cinemascope aspect ratio. The production shot QT ProRes 4444 XQ, at 3.2K, in 16:9 but framed in-camera for scope.
“The Cooke S4s have a nice, analogue feel, without being super-vintage, and, in combination with the Alexa, they deliver a look that is more akin to celluloid film compared to other digital cameras, which can look too clean, binary and manipulated,” he says. “Also, we wanted to shoot in available light as much as possible, with the minimum of supplementary lighting, and the Cookes were fast enough to allow us to work that way, even in the low-light of the Scandinavian autumn.”
Carlsen typically rated the camera at 800 ISO for day interiors/exteriors, and at 1280 or 1600 for exterior nights, employing a Tiffen Black Pro Mist 1/8th filter to smooth-out skin tones, soften the prosthetics and make-up, and to create more filmic rendition on highlights in the image.
“I really like [ARRI SkyPanels] as they are very power-efficient, with a great output and spread of light for wide areas, plus you can twist the colours easily. They were great for illuminating the forest scenes, when we sometimes had to be able to follow the action through 360-degrees.”
– Nadim Carlsen
As for shooting in widescreen aspect ratio, Carlsen explains, “It was all about the central role of landscape and nature in the story, and we liked the cinematic stylisation of this wide format in contrast to the realism of what was in front of our eyes. The widescreen aspect ratio also makes you think about how you can use composition and framing in interesting ways to express emotions, and it forces you to make interesting choices. We preferred to used wide-angle lenses, as we wanted to be physically close to the characters, to feel that you could reach out and touch them, especially Tina.”
The cameras and lenses were supplied, along with the lighting package, by Maan Rental in Copenhagen. Editorial, VFX and DI grading services were provided by Act3, a post-production facility located in the northern part of the city.
Prior to principal photography, Carlsen worked with the colour grading team at Act3 to create a small number of LUTs, based around the standard Rec709, but with lower contrast and less saturation. “I prefer to keep things simple,” he notes, “If you have too many LUTs things can get easily confused in terms of exposure.”
Carlsen’s crew included: Isabell Dahlén as gaffer; best girl Theresa Winkelmann; 1st AC, Benjamin Zadig; 2nd AC, André Ferreira Barbosa; DIT Björn Liljegrääs; and intern/trainee Sam Rock. Peter Hjorth was the movie’s VFX supervisor.
When it came to lighting, Carlsen says he necessarily had to adopt a location-based approach. “To support our idea for naturalism, and handheld takes, we lit the space or the location rather than the actors, and created an appropriate visual mood and atmosphere for the scene that would allow them to move around freely. Also, although, there were some rehearsals, Ali likes the energy and spontaneity of the first few takes, and a degree of improvisation, so you have to be prepared for that.”
When significant illumination was required, particularly on the dark forest or night exterior scenes, Carlsen deployed ARRI Sky Panels. “I really like these fixtures as they are very power-efficient, with a great output and spread of light for wide areas, plus you can twist the colours easily. They were great for illuminating the forest scenes, when we sometimes had to be able to follow the action through 360-degrees.”
For intimate interiors, such as Tina’s secluded home, Carlsen harnessed, as far as possible, the natural light coming through the windows, using LiteGear LiteMats to throw-in subtle light as needed to create a sense of shape and depth.
Controlling the exposure was a key concern when it came to shooting what turned out to be one of Carlsen’s favourite sequences in the movie – the sex scene, which takes place at dusk.
“We did extensive scouts to find a suitable location for the sex scene, as we needed somewhere where there would be adequate daylight, but without any direct light from the sun itself,” he says. “The place we found, with dense branches and leaves was perfect. However, as it took nearly six hours to shoot that scene, I had to keep a very careful eye on the light, and continually adjusted the under-exposure on the camera to keep a consistency of the twilight look.”
Candidly, Carlsen remarks that the final DI grade, performed on Da Vinci Resolve by Norman Nisbet, “was not easy. As we had shot handheld, often in an improvised manner in all weathers, the look was slightly fragmented, and the challenge was to make it all stick coherently together. For example, during production on the scene in which Tina and Vore swim in the lake, we had different seasons in one day – torrential rain and blazing sunlight. Also, because of the prosthetics, Tina and Vore had deep eye sockets, and I wanted to enhance their connection to the audience via their eyes. So with balancing and dynamic grading between shots and finessing work, there was a quite lot to do. But, over the course of ten days, we conquered that with Norman, and were very happy with the result.”
A great show today with return guest cinematographer Oliver Millar. I am a big fan of Oli’s work and since having him on the podcast back in Episode #95 his work has only gotten better.
Enjoy this episode and if you have a minute to contribute to Episode #200 next week make sure to head over to the Patreon page to fill out the survey on the industry and a cinematographer’s place in it.
Thanks for listening!
Patreon Podcast – In Complete Solohuette
We are back at it this week on Patreon looking at a small indie film shot by Bradford Young ASC, a regular on the Feature Film Breakdown.
This week we look at Solo: A Star Wars Story and some of the challenges the script presented and how the team attacked those issues to create some visually stunning segments.
To see the images and listen to the special breakdown podcast click the link below:
Featured Guest – Oli Millar
The post The Wandering DP Podcast: Episode #199 – Oli Millar appeared first on Cinematography Podcast & Tutorials.
Sound Devices has announced the third mixer-recorder in their new 8-series: the 888 Portable Production Mixer-Recorder. The 888 is one of the smallest portable mixer-recorder available that offers Dante for sending and receiving audio over Ethernet. The 888 also has 8 ultra-low-noise, 8-series microphone preamplifiers, 16 channels, 20 tracks, multiple powering methods and support for […]
The post Sound Devices 888 Portable Production Mixer-Recorder appeared first on Below the Line.
For editors John Axelrad and Lee Haugen, cutting James Gray’s Ad Astra was a new venture into the world of the film’s epic space journey. In addition to the advent, for a James Gray film, of overarching visual effects, Axelrad and Haugen had to manage a motion picture that was both one man’s intimate story […]
Finishing Post / Molinare
Finishing Post / Molinare
Founded more than 45 years ago, Molinare is widely-recognised as a leading supplier in the UK post production scene, completing high-end projects across feature films, high-end TV drama, feature documentaries and broadcast factual programming.
Its dedicated creative teams – across colour grading, factual audio, drama audio, VFX and online editing – have been nominated over 25 times in industry-recognised awards in the past three years alone.
Notable recent credits include series two of the international hit-drama Killing Eve, BBC Studios’ MotherFatherSon, Amazon’s Good Omens, the Neil Armstrong biopic Armstrong, Nutopia’s The Hunt For Jihadi John and Gurinder Chadha OBE’s feature film Blinded By The Light.
A mainstay in the industry – in part down to maintaining state-of-the-art, ever-evolving technology – Molinare lays claim to London’s largest theatrical grading theatre. The facility features Baselight architecture throughout, with five Baselight grading suites (offering workflows including UHD, 4K, 1,000nit HDR, Dolby Vision and 3D stereoscopic grading), Baselight assist and conform systems for conforming, VFX updates and deliverables creation, and FLUX Store centralised rendering.
The whole system is networked to provide access to any project in any room at any time. Molinare also enjoys dedicated connectivity to Dolby’s Studios in nearby Soho Square, enabling remote Dolby Vision grading, both theatrical and at 4,000nits for the home. Most importantly, the Molinare grading team comprises of four senior colourists and one junior colourist. On the audio side, Molinare also offers six audio mixing theatres – including 7.1 / 5.1 stereo and full Dolby Atmos home entertainment.
Written by Joe Barton and produced by Sister for BBC Two and Netflix, thriller Giri/Haji explores the butterfly effect of one murder over London and Tokyo. With the action moving between the two cities and traversing the narrative’s multiple time frames, colourist Andrew Daniel and cinematographers David Odd BSC and Piers McGrail were always keen to have a naturalistic grade for the main body, one which didn’t affect their set-ups too heavily.
“When it came to flashbacks, we wanted to create strong looks for the three different moments looking back,” recalls Daniel. “Whilst there are a few of them, each was carefully crafted to never feel forced or out of place. The Sony Venice allowed all of the range for us to achieve this and work straight from the RAW.”
Untouchable: The Inside Story Of Harvey Weinstein
Directed by Ursula MacFarlane, this feature documentary concerns the rise and fall of the disgraced Hollywood movie mogul’s career. Graded by Vanessa Taylor, the project featured numerous cinematographers, who were shooting in various locations in the USA. According to Taylor, the challenge with this project lay in smoothing the transition between media from various sources including multiple location shoots and archive spanning three decades.
Jateen Patel completed the grade on Sarah Gavron’s Rocks from Fable Pictures, with DP Hélène Louvart AFC shooting. Rocks follows 15-year-old schoolgirl Olushola Joy Omotoso, aka ‘Rocks’, as she hides with her loyal friends around London to avoid being taken into care with her younger brother.
For the big screen outing of the TV hit show, DP Ben Smithard BSC turned again to long-time collaborator Gareth Spensley, senior colourist at Molinare. “Ben and I have worked together on nearly 20 different productions over the last 15 years, including The Damned United, Esio Trot, The Second Best Exotic Marigold Hotel, and most recently Blinded By The Light,” says Spensley. “I think the biggest benefit of a close working relationship is certainly speed; there are lots of simple technical conversations we essentially don’t need to have anymore. I feel that means the time in the suite is much more focussed on the creative side of the grade.”
Smithard shot extensive camera tests with the main cast to experiment with different looks. “The studio required the project to be ACES compliant, so we created a LMT (Look Management Transform) for the DIT and dailies colourist to use,” says Spensley.
Shot on Sony Venice with a 2.39:1 aspect ratio at 6K and 4K X-OCN (depending on lens) Downton Abbey was conformed at Molinare direct from the Sony X-OCN Raw camera rushes.
Smithard had shot the film to differentiate the upstairs and downstairs characters with the camera work, framing and lighting. “With the DI grade Ben wanted to continue that differentiation; we picked key images from the film and graded them with a variety of film emulation techniques we’ve been using over the years,” says Spensley. “By putting the different grades side-by-side, we chose the techniques that contrasted the two worlds the most. The common thread became using a tweaked old Fuji emulation for the downstairs characters; that accentuated the green walls and coppers of the kitchens, and more saturated old Kodak emulation for the upstairs scenes that brought out the golds and sumptuous wood panelling. We carried this separation across the film and had thought we’d have problems with the transitional moments, but the decisions were quite straightforward in the end.
“I think our long-term collaboration has led to Ben recognising on-set when he’s going to use a particular DI grade effect, filter or digital fix,” continues Spensley. “He knows when a specific technique will improve a sequence or fix a production issue because we’ve worked through similar issues together in the past. For example, on Downton Abbey, Ben and I drew on our dappled light technique we developed on the Marigold Hotel film to add a consistent light element to a complex sequence.”