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September 2012

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DI Gallery New Art helps Fiat launch sports coup M IAMI — Creative boutique New Art Miami ( collaborated with marketing and technology company SapientNitro on three videos for Fiat's new Website (www.FiatUSA. com/Abarth), which introduces the 2013 Fiat 500 Abarth, supplying DI and more. The New Art Miami team provided color correction, conforming, clean-up and audio mixing for the campaign, which includes the :60 Burning Up The Desert :30 Sin City and :30 Winning. All three feature the race-inspired sports coup and Italian supermodel Catrinel Menghia. The spots were shot in Nevada by director Disco Fish of Odd Machine, using Red Epic and Canon 5D and 7D cameras. The crew also used a Sony camera for aerial shots that captured the speed, power and style of the car. New Art Miami senior colorist Patrick Desfayes was challenged with transforming the mix of footage — shot at various speeds — into a cohesive visual experience. He used the studio's Scratch 6.1 system and a Tangent panel to achieve the look. "The scenes with fast-paced cars needed lots of complex tracking of windows and keys," Defayes explains. "We exported all of the VFX scenes as DPX 10-bit sequences into Flame. The black cars were sur- rounded by desert dust, and the sun created multiple glares, which required some finessing during the color correction process." Senior Flame artist Kyle Reynolds handled clean-up, removing power lines, eliminating reflections of the chase car's camera, adding license plates, and replacing existing billboards with Fiat 500 Abarth's logos. Sapi- entNitro's in-house editor Javi Urquiza cut the Web spots. New Art Miami's Juan Dieguez created the sound design for the project. FilmLight shows color pipeline tools L ONDON — At this month's IBC show in Amsterdam, FilmLight ( brought its lat- est solutions for refining looks and managing color at every stage in production. Several new products from the company's expanded prod- uct line made their European debut, including Flip, the realtime image processor; BaseLight Transfer, a real- time, 4K dailies processing system; and BaseLight Editions, a powerful color grading toolset. BaseLight 4.3, the latest version of the company's color grading software, includes several new fea- tures. BLG (Baselight Grade) is an open EXR file format from the company, and Flux is an expandable 80TB streaming media server. Each product is designed to address a different point in file-based film and television workflows, and together constitutes an integrated, end-to-end color pipeline. 18 Post • September 2012 FotoKem helps color Katy Perry B URBANK — FotoKem (www.fotokem. com) provided end-to-end services for the stereo 3D movie Katy Perry: Part of Me, which mixes concert footage — shot in LA — with behind-the-scenes clips and docu- mentary footage. FotoKem devised an end-to- end pipeline for the project, collaborating with 3ality Technica for two November concert shoots at the Staples Center. Eighteen Red Epic cameras were mounted in nine 3ality 3D rigs to record the on-stage action. FotoKem's NextLab software served as an on-set solution for extracting data immediately from the cards so they could be reused and so footage could be reviewed at FotoKem the next morning. FotoKem's senior colorist John Daro gave a realtime first pass color grade using Quantel Pablo 4K. He also performed convergence adjustments and minor offsets to provide a 3D comfort level for eight hours of dailies. "We made all of the production and archival footage work together, and that freed me up to make it 'sing' and do some cool tricks, like give an 'Instagram' look to some stills from Katy's teen- age years, or set colorful interpretations of indi- vidual songs," says Daro. When Paramount Pictures announced distri- bution of the film, FotoKem began final post in the NextLab system, taking over 300 hours of background footage from a number of sources and creating 3D Avid media for editorial. As the final version of the movie was near completion, a portion of the 2D content was converted to 3D. A master file was made, and Daro sent Quantel archives to the 3D facility for a seamless transition facility to facility.

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