Deadpool 2 is the sequel to the most popular R-rated movie in history. Despite being produced by an entirley different team, on-set color again played a big role in its production. Main Unit DIT Simon Jori was responsible for on-set color and look management on Deadpool 2. In a recent interview with us he talks about the power of on-set color, the importance of testing looks beforehand, and explains why he likes to run more LUT boxes than cameras.
On-set grading played a big part in the production of Jumanji: Welcome to the Jungle. But how do you grade on set when filming takes place in the middle of the jungle? DIT Lonny Danler, who was responsible for on set grading on Jumanji, shares his experiences.
When working on set, DITs deliver a whole package of services, that often goes beyond the offloading and securing of footage. For his current production “Gelukzoekers”, DIT Thijs Bazelmans handles the whole process from live grading to the final handover of material to post production.
With its hit show The 100, CW network has set new standards for post-apocalyptic TV shows.It’s got a ‘harsh’ look that’s kept throughout the show. Someone who knows the look of the show best is Noah Richoz, DIT on the show since season two. In a recent interview with us he explains why Silverstack XT and LiveGrade Pro were his go-to options for this production, and how on-set looks enhance the distinct style of the show.
With “Spider-Man: Homecoming” being the second reboot of one of the most popular superhero stories of all times, expectations for the movie were certainly high. Director Jon Watts managed to meet these expectations by giving the film a unique touch of its own – making it a colorful, fresh and delightful story about Peter Parker’s attempts to balance high-school life with his new superhero job.
Brand commercial production is a chapter of its own in the film industry, with often only very few shooting days and incredibly tight deadlines. One of the people who know this best is Denis Spycher. The Zurich-based DIT and owner of dithouse.com has been filming commercials for domestic and international clients for more than eight years. We recently sat down with Denis to talk about his most recent commercial project for telecommunications company Swisscom, in which he used Silverstack Lab for handling data and dailies.
“Chance” is an american television series featuring “Dr. House” star Hugh Laurie. Digital imaging technician Jordan Livingston was booked for the first two episodes of the show. His task was to establish the media asset management workflow on-set and together with the directors of photography create a unique look for the series. We talked with Jordan about his role and what his workflow for media and color looked like.
Being the most succesful movie of the X-Men franchise and the second-biggest R-rated movie in the US so far, 2016’s “Deadpool” isn’t an insider tip anymore. The superhero flick convinces with sass, wit and stylish action scenes. In Part 1 of our “Deadpool” Production Feature we talked with Mitch Bax about his work as a DIT on the main unit of “Deadpool”. Today we’ll take a closer look at how digital imaging technician Chris Bolton handled data and color on the second unit and how both units managed to visually match their looks right on set.
The Hollywood blockbuster “Deadpool” was the surprise hit in theatres in 2016. What might have been just another superhero movie, turned out to be a witty and refreshingly ironic movie. As a stylish superhero movie, “Deadpool” comes in a distinct look, that required a smooth workflow for media and color. Mitch Bax, who worked as digital imaging technician on the Main Unit, revealed to us his way of handling data and color on set, using his notebook and both Silverstack and LiveGrade.
The production of the feature film “Divergent” set tough requirements for DIT Nate Kalushner. The movie has a distinctive look that was required to be applied already on preview monitors throughout the entire shoot, even on production locations that only allowed the use of very lightweight and mobile monitor setups. Nate shares his experience about the production workflow, and explains how Pomfort LiveGrade helped him create a flexible setup that could adapt well to challenges during production.