Issue link: http://digital.copcomm.com/i/57245
a shot-by-shot VFX workflow; they're not a DI solution." At a time when MacNeil has "never seen budgets so tight," Creative Post's suites are in demand for their ability to per- form DI on time and on budget, he notes. "We focus on efficien- cies without sacrificing creative." Colorists typically do an unsu- pervised technical pass to get the balance and come up with the looks discussed with the director or DP. Then the DP arrives for a scene-by-scene pass. Although the looks developed on set are loaded in or recreated during the tech pass, "80 percent of the time clients end up with an entirely different look," says MacNeil, discarding the pre-set look or guideline in favor of something else. "In the end our primary focus is always on the creative," he says. "Having techni- cal flexibility allows us an unre- stricted flow to that creative." EFILM Steve Scott is VP/supervising digital colorist at Hollywood's Efilm (www.efilm.com), whose DI history extends from the first full-length DI for We Were Sol- diers in 2001 to today's stereo 3D DIs for a great number of the Marvel features as well as the recent Star Wars: The Phantom Menace. Scott himself did the DI for Tree of Life, which earned a 2012 Academy Award nomina- tion for Best Cinematography for its DP, Emmanuel Lubezki. Scott recalls that a DI used to start when a finished film moved into the DI suite for timing. "Now, once the boards are drawn up, we start discussing and engaging with the DP, director and VFX supervisor to decide the pipeline as early as possible. This allows for a consistent workflow from monitoring and timing dailies through editorial to timing back- plates for VFX and on to the final DI. Ideally, when you get to the DI, a lot of the heavy lifting has already been done, so it's just a matter of finessing." Efilm's proprietary version of continued on page 47 Millan Russell Behlmer Porter Creating the Sound of Imagination Re-Recording Mixing Remote Picture QC ADR and Foley Sound Design and Editorial Transfer and Layback DVD Audio and Restoration High Speed Connectivity Technicolor at Paramount 5555 Melrose Avenue, Hollywood, CA HollywoodSound@technicolor.com 323.956.7000 Technicolor.com/HollywoodSound