Light Iron – a post production leader specializing in projects originated on file-based motion cameras – provided on-set color, color workflow, and final color for the weekend box office hit “Ender’s Game.” The company has released an in-depth video on its “Ender’s Game” workflow, highlighting the collaboration and innovation that fueled this multi-year project.rnrn”‘Ender’s Game’ is an amazing science fiction movie, with a behind-the-scenes story equally as compelling as what’s on the screen,” says Light Iron CEO Michael Cioni. “Light Iron collaborated with the VFX team at Digital Domain to create a powerful color pipeline that delivered the vision of director Gavin Hood and cinematographer Don McAlpine. From setting looks on-set with our Lily Pad System, to managing metadata with our Live Play iPad app, to determining multiple colorspace deliveries of VFX shots, to creating complex branches of scene looks in the DI, our workflow was progressive at every step.”rnrnProduction began in early 2012 at NASA’s Michoud Assembly Facility in New Orleans. DIT Tim Nagasawa operated Light Iron‘s Lily Pad, a lightweight and highly mobile on-set color system. Nearby, Jason Beale operated Light Iron‘s Outpost Mobile Data Lab to produce dailies and backups.rnrnThe Lily Pad and Outpost combination was appreciated by director of photography Don McAlpine, ASC, ACS: “Tim provided a good solid backing and the Lily Pad was an efficient portable visual control center. This, backed with the security of Light Iron, proved to be a very efficient and reassuring protection of the product we were producing.”rnrnAlso on-set, Light Iron‘s Live Play iPad app was used in conjunction with the 5th Kind app to log and track metadata for the numerous VFX shots to be developed.rnrnThe hand-offs of photography elements to Digital Domain and completed VFX shots back to Light Iron were in specific configurations so that, in the DI, Supervising Colorist Ian Vertovec had maximum flexibility to apply color grades across VFX shots and uncomposited R3Ds in the same scene.rnrnVertovec worked closely with McAlpine and director Gavin Hood to develop the final look of the film, including crafting subtle day/night cues to structure the passing of time and separating color profiles to enhance the emotional thematics of the story.rnrn”When you work on a project for more than a year, it makes a tremendous difference when the work flows seamlessly from set through DI,” notes Cioni. “Our innovative process is different from those of the legacy companies of post production, in the same way that Netflix is different from Blockbuster and Yelp is different from the Yellow Pages. Being progressive in data processing and color management enables clients to leverage file-based tools to reach maximum creative control.”rnrn
rnTo watch the video about Light Iron‘s Ender’s Game workflow, visit here.rnrnAbout Light IronrnLight Iron is a post production company that specializes in on-site dailies, digital intermediate, archival, and data services for projects originated on file-based motion cameras. With facilities in Hollywood and New York City, Light Iron serves feature film, episodic television, and web-bound projects at both the independent and studio level. rnrnThe company distinguishes itself by providing clients state-of-the-art hardware and software solutions
Laura Pursley Marketing Manager Light Iron (323) 472-8300 Contact Laura via email
Goldcrest Post Speeds Delivery of “Severance” Season Two
The New York Times recently wrote that the just-released Season Two of Severance will “blow your mind”—and we couldn’t agree more. Created by Dan Erickson and Ben Stiller, the Apple TV+ drama is smart, spellbinding, distinctly original and packed with surprises. For those who aren’t already devoted fans, the show centers on Mark Scout (Adam Scott), leader of a team at Lumon Industries, whose employees have undergone a “severance” procedure that surgically divides their memories between their work and personal lives. Goldcrest Post provided post services for both seasons of the show, including picture editorial support, sound editorial, ADR and sound mixing. Editorial for Season One began in 2020. Due to the restrictions imposed by the pandemic, Goldcrest supplied both onsite production offices and edit suites, and remote editing systems for individual editors, with everything linked to a central server. "Mixing at Goldcrest with our team has been a great experience,” says Stiller. “Bob and Jacob are in sync with our creative process and so good at what they do that the experience is always one where it's about how we can enhance the creative vision, with a baseline of knowing everyone is totally committed to making something as good as it can be." Diana Dekajlo, the show’s co-producer, says that the arrangement worked so well, they chose to continue the hybrid approach for Season Two. “We’re a remote friendly show,” she explains. “Whether we’re at Goldcrest, our studio in the Bronx or at home, our workflow is seamless. I conduct remote daily meetings with my immediate staff, and weekly meetings with editorial and VFX, and we talk to each other as if we were just down the hall. It makes for great staff... Read More