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6 Post • April 2014 www.postmagazine.com Efilm adds Baselight, grades Divergent H OLLYWOOD — Deluxe Media Creative Ser- vices' Efilm recently installed a FilmLight Base- light (www.filmlight.ltd.uk) color grading suite. The installation includes the Baselight Two realtime grading system with Blackboard 2 control surface and the Baselight Assist station for background rendering and processing. Efilm's first project using the new system was the recently released action adventure film Divergent, star- ring Shailene Woodley, Theo James and Kate Winslet. Directed by Neil Burger and shot on Arri Alexa cam- eras, the Summit Entertainment film is an adaptation of Veronica Roth's best-selling novel. Lead colorist Tom Reiser at Efilm was responsible for the feature's distinctive look. "Action adventure movies traditionally have a cool look, but Neil Burger wanted this to start out colorful and warm," he recalls. "There were plenty of opportunities to use Baselight to create interesting looks. There is also a plot device of going into people's dreams, and I gave each a dis- tinctive look, with green and yellow washes. I also used the grain and degrain features within Baselight, which perform really well. [DP] Alwin Küchler also featured a lot of bold lighting, with big color casts from LED lamps, which added to the tone." Reiser has been a lead colorist at Efilm since 2009. He praises the system's auto tracking tool and its inclusion of printer light emulation, which he believes is a significantly- better approach to color grading. "The auto-tracking in realtime is pretty amazing," says Reiser. "I can put a shape on and hit area tracking, and it shows me precisely what the shape is going to do. Being able to create and store my own pre-sets is also a huge benefit, as well as having the option to use a different LUT for every shot if I want to — I used five or six in Divergent." Fujifilm's Dternity addresses deep storage V ALHALLA, NY — Fujifilm Recording Media USA, Inc. (www.fujifilmusa.com), a subsidiary of Fujifilm Corporation, has launched Dternity, a new deep storage and archiving solution that uses cost-effective data tape and provides seamless on-site and online content protection. Dternity Archive Media is environmentally sustainable and consumes less energy than spinning disks, offering lower power costs and a green approach to data storage. A 2.6TB LTO-6 cartridge costs approximately $50 and can have a shelf life of 30 years. The Dternity NAS is an on-site network attached storage appliance that's built to provide online data access, low-cost scalability and data protection for unstructured, fixed content. Using linear tape file system (LTFS) tape technology, Dternity NAS delivers the performance of disk with the economics of tape in a scalable solution. The Dternity Media Cloud is a subscription service that serves as an online storage solution for the preservation and protection of digital data archives. Features include multiple connection methods, fully customizable SLAs, regulatory- compliant security, mobile support, auto-migration, and archive verification. N EW YORK — Dive (www.divevisual. com), the visual effects division of ShootersInc, has staffed up its New York studio to take on multiple visual effects proj- ects, including the new, 13-part series, Cos- mos: A SpaceTime Odyssey, which is being presented by Fox and National Geographic Channel. The series debuted on Sunday, March 9 and acts as a follow-up to the 1980s television series, Cosmos: A Personal Voyage, which was presented by Carl Sagan. The new series is hosted by Neil deGrasse Tyson. Dive is one of 12 visual effects studios from around the globe that's working on the new series. The project came to the studio via Cosmos CG supervisor Luke McDonald and VFX producer Addie Manis, who had worked with the Dive team on the feature film, The Road. The team is collaborating closely with show VFX supervisor Rainer Gombos. While the project began at the company's Philadelphia studio, they added staff in New York to accommodate the ongoing work on this series, as well as several other projects. VFX supervisor Ed Mendez leads the Dive team, which is challenged with creating scientifically-accurate, cinematically-moving imagery. The studio's biggest contribution can be seen in Episodes 5, 8, 9 and 10, where they were called on to provide dimensionalization of star clusters, galaxies and nebula. They also brought to life a ren- dering of a pre-historic animal. Bits & Pieces Dive creates visual effects for Cosmos