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
Who Needs Los Angeles? We Do.
One doesn't have to be a statistician to know that there are fewer commercials being shot in the U.S. today for the American market than ever before, and a dramatic decrease in L.A. in particular. In the last five years, as reported by FilmLA (the office tasked with issuing permits), L.A. commercial production has dipped 31 percent. But here’s the thing: This doesn’t mean that L.A. has lost its importance as the production center of the world. Production in L.A. is vital. It is the go-to. It’s where you can count on access to exemplary crews, a support infrastructure second to none, varied location and backlot options, a large population of on-screen talent and (fairly) predictable weather. The fact is, with overall decline and now the devastation of the fires, we’re on the brink of losing this mainstay resource. Without employment opportunities and now many without homes, talented and trained crew are bound to leave either the industry or the LA area for other opportunities, unless there are enough job opportunities to sustain a solid living. Now is the time when we ALL must support and bolster this community. Production is needed in L.A., now! Of course, advertising is a business, and marketers’ money should be spent as efficiently as possible, BUT we have to think beyond each production and know that if we lose the incredible resource of L.A. production as we know it, then marketers, agencies and the industry loses in the long run. Over the past several days, some agencies have issued directives to production companies that are unilaterally pushing upcoming production options out of L.A. The fact is L.A. is a large area, and many sections of the city and county are not directly impacted... Read More