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April 2014

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44 Post • April 2014 postings SAF3 SerieS C APE TOWN, SOUTH AFRICA — Refinery ( managed all post production and deliv- erables for SAF3, a new American TV series from Baywatch creator Gregory J. Bonann. The series was shot in Cape Town last year and stars action legend Dolph Lundgren, Dancing With The Stars win- ner JR Martinez and The Bold and The Beautiful's Texas Battle. will screen the series later this year. Refinery set up a satellite post facility at Cotton Mill Studios in Epping, Cape Town, to manage all post production on SAF3, which they delivered to 23 countries around the world. The studio handled the dailies, editorial, VFX and sound editing at Cotton Mill Studios, with Area 5.1 handling the sound and Refinery the deliveries from Johannesburg. Kalahari Pictures was the South African production company on SAF3, which was one of the first major international TV series to post entirely in South Africa and to make international deliveries from there too. Food City'S SAlute N ASHVILLE — Porchlight's ( Peter Zavadil recently directed and edited a new :60 broadcast spot for Food City. Conceived by The Tombras Group, the spot is a true slice of Americana, with a family preparing a sum- mer BBQ to celebrate the return of their son from the military. As the young man's taxi pulls up, the family's patriarch steps from the house in his own military regalia. He honors the sol- dier's service with a proud salute. Salute has been honored with numerous awards, including six ADDYs from the AAF's American Advertising Awards, and two from the National Grocers Association (NGA). Zavadil's perspective as an editor gave him an advantage during the shoot because he knew exactly what shots he required, making the production process very efficient while still leaving time to experiment. James King served as DP. Composer Paul Jones of Knoxville, TN's Auralation provided audio services. Rodney Wil- liams of Nashville-based Forward served as colorist. PSA PACKAGE N EW YORK — More than 200 NYC-based creative professionals representing 15 companies recently donated their talents to a PSA campaign that brings attention to a form of modern-day slavery — human trafficking. Freedom For All ( is a not-for-profit organization that was founded by former Ford Models CEO, Katie Ford. The "Stop the Nightmare" campaign consists of the PSAs Indebted, Drowning and Hidden in Plain Sight. All were posted to YouTube, and they will also air on TV and via various social media platforms. Without an ad agency spearheading it, director Kim Dempster (Point Blank Productions), editor Peter Mostert (Hooli- gan) and Lisa Kwon (Kwoni Productions) rallied fellow creatives to help execute the campaign. Dempster conceived the PSAs, using poignant narratives that would show the humanity of the victims and the gravity of today's slavery epidemic. Post production on the three PSAs spanned four months, moving forward as volunteers because available. The spots were shot using a Red Epic and were edited in Final Cut Pro. Trish Govoni ( served as DP on the project. Kwon handled graphics and acted as post producer. Hooligan's Mostert edited the campaign. Carmen Maxky of Goodpenny provided Flame services for Indebted, and Alex Catchpoole of Tanq provided Flame for Hidden In Plain Sight. Other VFX contributors included The Colony (Drowning), Republic (Drowning), and Piranha (Indebted). Nice Shoes' Gene Curley handled color correction. Weston Fonger at Yessian provided sound design and mixing for Indebted. The music and final mix for Hidden In Plain Sight and Drowning was created by Casey Chester of Audible Playground. under the Skin L ONDON — Dirty Looks ( is a London-based color-grading studio that specializes in work on independent films. The stu- dio recently put its Baselight system to use to finish Under the Skin, a new feature from director Jonathan Glazer, starring Scarlett Johansson. Visual effects were completed by Dirty Looks' creative partner, One of Us, which shares space in the same building. The film was shot in Glasgow and rural Scotland by DP Daniel Landin on an Arri Alexa. A small digital camera, developed by One of Us, was also used for covert shooting in Glasgow's city-center. Custom color science was developed to enable the cameras to sit together in the edit. Baselight was used to help balance the look of the two different cameras. As the VFX developed, they were regularly conformed and worked on in a 2K grading environ- ment. Colorist John Claude set the grade, working closely with Jonathan Glazer to achieve a look that the director felt should be rooted in an every- day Glaswegian reality. The balance in the grade was naturalistic in the street cinematography, then more stylized as the film moves through some of the more curious, unsettling sequences. In once scene, Johansson's face is used in a montage that blends more than 90 2K layers. Each layer was tweaked, stabilized and graded in Baselight.

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