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www.postmagazine.com 6 POST SEPTEMBER 2014 NEW YORK — Mark Gethin, the creative director of color at MPC/LA, spent sev- eral weeks in New York City, providing fi nal color for the DreamWorks feature The Hundred-Foot Journey. The fi lm — produced by Steven Spielberg and Oprah Winfrey — is set in the south of France, where the proprietress (Helen Mirren) of a celebrated French restaurant sees competition from the Kadam family, who open a new restaurant directly across the street. The fi lm also stars Om Puri, Manish Dayal, and Charlotte Le Bon. Gethin, who is based out of MPC in Santa Monica, specializes in commercial work, and it was his working relationship with the fi lm's director of photography Linus Sandgren that brought him into this project. Gethin has worked with Sandgren on spots for at least 10 years, and the two also collaborated on the 2012 feature Promised Land. For The Hundred-Foot Journey, Geth- in spent three weeks in New York City, working out of Technicolor-PostWorks New York (www.postworks.com), where he performed the DI using a Baselight system. The feature, says Gethin, was shot in France and India, and was cap- tured primarily on 35mm anamorphic fi lm, with additional material shot using an Arri Alexa. "Linus and director [Lasse Hallström] wanted to give it a mood that it was a sweet and happy fi lm, but they didn't want to do a generic happy and sweet look," he recalls. "A lot of it was about the mood and how far we could take it. It was really about the atmosphere of the movie. The color, especially the stuff that was shot in India, looks fantastic anyway, so it was really about getting the right mood for it." Film work, says Gethin, is much diff er- ent than the commercial work he typi- cally sees, where he can spend hours on just :30 of material. "You don't have that time," he states of feature work. For The Hundred-Foot Journey, Gethin spent the fi rst two weeks going through the fi lm and making changes to get it "in a good place," he explains. "The last week was about fi ne tuning and putting windows on." This includ- ed playing up the characters' eyes and adding highlights, as well as downplaying some of the backgrounds or less-than- perfect weather. His Baselight sys- tem allowed him to apply as many windows as necessary. "The director loved that," he says of the ability to fi ne-tune a scene via windows. Gethin worked at 2K resolution in Technicolor-Post- Works' digital theater. Technicolor-PostWorks New York created the fi lm's 2K selects scans, as well as handled the conform using Autodesk Smoke. Producing support was provided by Technicolor's Bob Peishel and Technicolor-PostWorks' Kevin Vale. The editorial conform was led by Technicolor-PostWorks editor Chris- ty Leftwich, with creative support from Ben Murray of The Room. Dust busting and video mastering services were performed at Techni- color Hollywood. Technicolor Digital Cinema created the DCP delivera- bles. Technicolor's newly-acquired VFX studio, Mr. X, created visual eff ects for the project. —BY MARC LOFTUS THE HUNDRED-FOOT JOURNEY BITS & PIECES SHIFT HAPPENS. Make a change for the better. Move your edit into the cloud for more dynamic workfl ows and creative stories. Forscene is the world's most advanced cloud-based post production platform. Shift your thinking at forscene.com www.postmagazine.com FOR MORE FILM COVERAGE, VISIT US AT: Mark Gethin perfected the color while working at 2K in Technicolor- PostWorks' digital theater.