What was the biggest challenge posed to you by a recent project? Or share insights to a recent project you deem notable. Briefly describe the project, why it was particularly noteworthy or what valuable lesson(s) you learned from it.
Most recently we had the privilege of working on Bono & The Edge: A Sort of Homecoming with David Letterman for Disney +. Shot on 4 different cameras, colorist Taylor Black worked closely with the cinematographer / DP (Nicola Marsh) to create 4 different luts, which essentially pre-created a cohesion across the film before it even came to post. The director and the talent were really happy with what they saw on set and throughout the edit. This head start allowed us to spend the majority of color focusing on the beauty in the details.
Are you involved in virtual production or experimenting with AI, AR or other emerging disciplines or new technologies? Have you engaged in any real-world projects on these fronts? If so, relative to experimental and/or actual projects, briefly tell us about the work & what you’ve taken away from the experience.
We started working on AR and AI projects back in 2015 and it was exciting to get a glimpse of the road ahead. These past generations of AR projects required specialized gear to view, which created an obstacle in featuring the work on reels, but it was very much alive and well back then. Now we’re seeing the conversation around Ai tap into feelings of fear, which is a natural human emotion. Whenever something perceivingly new emerges you should aspire to embrace and learn from it. We love digging into Unreal engine projects, Animated and AR environments. In the physical world, we are in the process of developing a film profiling aspect based on spectroradiometer & densitometer readings of selected film and print stocks. These are custom film profiles built on negative/print combinations and tweaked to client requests. We have built shooting luts for so many cameras over the years, most recently we’re fulfilling a lot of requests for the Alexa 35 (LogC4) and Sony Venice 2. Our technical ability to collaborate with clients who are looking for certain film looks, based on empirical data and finessed to the show’s needs streamlines the grading process. The luts are extremely helpful in unifying a look across multiple cameras on a single project and they can be carried across shooting and into the edit.
Does your company have plans for any major diversification and/or expansion/investment in technology and talent this year and if so, what? How will this investment or diversification add value to what you can offer to clients? If instead you have already realized any actual expansion, made such an investment and/or diversified significantly recently, share those developments with us along with what they mean to your staff and clients.
We are always looking to invest in talent and technology. As part of a request to help curb timelines and budgets from our finishing partners on commercial campaigns, we are providing training for and utilizing Fusion. This help us provide support with respect to cleanup and VFX when requested by our creative partners.
Gender pay disparity, sexual misconduct and the need for diversity & inclusion are issues that have started to be dealt with meaningfully. While the industry has made strides to address these issues, there’s still a long way to go. What policies do you have in place or plan to implement or step up in order to make progress on any or all of these fronts?
I strive for everyone to know about post production as an option for a career and have discovered that fresh minds and amazing talent can be found in environments where exposure and the knowledge of post production is not necessarily at the forefront. I recently joined the advisory board for the Long Beach City College Film program and I am an AICP mentor for emerging talent. I enjoy helping others navigate and succeed in advertising and film. While not everyone needs a helping hand, many do need opportunities and connections to thrive as artists and work on projects that allow them to express their creativity. Gender pay disparity and the need for diversity & inclusion are just a few of the reasons why we opened Apache Digital back in 2014. We are a woman and minority-owned company. We believe that every employee deserves to be valued for their work. When we can, we promote from within before looking outside of our ecosystem for talent. When you leave Apache you leave with credits and a career. We believe that when you treat people well, they will do their best work. Our core values are empathy, honesty, integrity, and courage. The result is a company that grows and thrives because everyone’s efforts are aligned.
Tell us about significant creative, filmmaking or tech talent you’ve recently brought into your company–including from those groups underrepresented in the industry–and what drew you to him, her and/or them. If this was talent new to the industry, how did you go about “discovering” him, her and/or them?
Los Angeles native Quinn Alvarez is not new to Apache but he’s a talent with a passion and a purpose. We were introduced by mutual friends and I was immediately inspired by his craft and his ethics. We actively seek out artists who will mentor young talent and he’s always offering the next person a hand up. Alvarez was looking for a new home that embraced the importance of diversity and the works of people of color throughout the film industry. On the importance of that mutual ground we ultimately became family. Alvarez has graded several Super Bowl commercials and celebrated Cannes Lions wins with clients including Xfinity and Burger King. His latest project, The Space Race will premiere at Tribeca Film Festival and Disney+.
