Issue link: https://digital.copcomm.com/i/1543327
"The film was shot with a combination of VistaVision and Super 35, mainly because the vin- tage VistaVision cameras were often temperamen- tal," he reports, "and each shoot day, the 35mm film negative was sent to FotoKem for processing and scanning." Jurgensen edited the film using Avid Media Composer 2024 on a Mac Studio Pro with an ex- ternal 48TB G-RAID Thunderbolt 3 array. Assistant editors Jay Trautman and Colleen Murphy worked off Avid NEXIS shared storage. Once reels were locked, Trautman exported cut lists for film assis- tant editors Andrew Blustain and Tom Foligno, who conformed the VistaVision and Super 35 work prints along with VFX film outs. The VistaVision answer print was timed at FotoKem, which completed an optical blow-up to 70mm. EDLs were delivered to Roundabout Entertainment for digital conforming for the IMAX, Dolby Vision and DCP releases. I was chatting with Ryan Coogler recently about his ambitious genre mash-up horror/thriller, his love of post, and the technical and creative challenges facing him and his key behind-the-camera collabo- rators, including VFX supervisor Michael Ralla and editor Michael P. Shawver, both of whom are also Oscar nominated. The director knew that it would need "a lot of visual effects" because of star Michael B. Jordan playing dual roles as twin brothers. "That was the big challenge, and it took a lot of work to figure it all out," he notes. "And then, although it's set in the Mississippi Delta, we ended up shooting in Louisiana because of the tax credits and local infrastructure." The film was shot by his Black Panther franchise director of photography Autumn Durald Arkapaw, who is also Oscar nominated for her work on Sinners, and the team shot with two very different camera systems — the Ultra Panavision 70mm and IMAX 65mm. "That combination was the first time in history that a film was done like that," he told me. It also made Arkapaw the first woman in the industry to shoot a feature film on 65mm IMAX. Coogler post- ed on the Warner Bros. lot and his sound depart- ment, based at Skywalker Ranch in Marin County, came down for all the mixes on the lot, including temp mixes for the test screenings. "We even built a mini screening room so we could put the film up on a 4K projection when we were checking our finals," he adds. "That was a big project that Tina Anderson, our post production supervisor, and Michael Ralla organized, and it was really effective." Oscar winner Chloe Zhao's new film, Hamnet, was shot on-location in Wales and England, with the interiors shot on soundstages at Elstree Studios outside London. Harbor UK provided DNxSQ dailies, utilizing a LUT created with DP Łukasz Żal. After production, editor Affonso Goncalves and the editorial team moved to the Gravity House post facility in Soho and worked With 13 Oscar nominations, One Battle After Another is a favorite for Best Picture. Much of the post for Chloe Zhao's Hamnet took place in the UK. Sinners' 16 Oscar nominations includes those for Best Picture and Director.