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March 2015

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Page 45 of 51 44 POST FEBRUARY 2015 Light Iron is a Quantel-based facility, with both Pablo and Rio systems. "About four years ago we made a conscious decision to move to Rio because it supported 4K in a better and faster way, which allowed us to do these smaller movies. One of the things we've always been proud of is, regardless of your movie's size, we have a home for you here. If you have a small movie, you don't get put in a small room in the middle of the night with a third-rate colorist." In fact, the studio recently supported eight films that premiered at Sundance back in January. The Stanford Prison Experiment was just one of them, and according to Geffre, was posted in the same room and with the same talent that worked on David Fincher's successful 2014 release, Gone Girl. TECHNICOLOR-POSTWORKS NY COMPLETES TEN THOUSAND SAINTS Technicolor-PostWorks NY recently provided DI services for Ten Thousand Saints, a feature film that debuted at the Sundance Film Festival back in January. Directed by Shari Springer Berman and Robert Pulcini — both have worked with Technicolor-Post- Works NY in the past — Ten Thousand Saints is set in the 1980s and centers around a teenager from Vermont, who moves to New York City to live with his father in the East Village. It stars Hailee Steinfeld, Ethan Hawke and Asa Butterfield. The feature was shot on Super 16, and according to colorist Jack Lewars, the for- mat was well suited to depict the period in time in which the film takes place. "After doing so many digital films — that all look beautiful and amazing — you realize film, to me, is beautiful and can blow anything away. Especially for a period piece that takes place in the '80s. It was perfectly suited for their film." Technicolor-PostWorks NY handled the dailies process, developing film and creating files for the Avid offline edit. According to head of creative services, Ben Murray, the film was scanned using a Spirit system, which is capable of 4K. "For this job we did a 2K scan," he notes, adding that the studio created its own intermediate for XML, which allows them to carry a lot of the effects across. "So instead of having to recreate match effects, all of the effects are there, and we can spend that time and energy improving upon effects instead of recreate things." "We would get all that back and re-scan all the individual takes and assemble the movie in our Flame Premium system," adds Lewars of the online. "We also had to go through and do dirt removal, which you don't have to go through with digital, and dust bust everything, which took some time. The only thing we didn't do in terms of a traditional DI was go back out to film. We just did a final DCP, which we call the 'final print master.'" Lewars, who uses Autodesk Lustre, helped refine the film's look through color. "Throughout the movie, we used a crossed, processed, bleach-bypass look to get the punk rock, grungy feel for it," he recalls. "It worked so well and the grain that the film brought to it really added some aesthetics. There are a lot of punk shows in the mov- ie, and we were really able to enhance them with the color correction." Since its Sundance premiere, Ten Thousand Saints has been picked up by Screen Media Films and is slated for a late summer release. CONTINUED FROM PG 31 MOBILE GAME AUDIO CONTINUED FROM PG 19 DIGITAL INTERMEDIATES the far reaches of the universe, find and manage resources, maintain their ship, and survive the harsh unknown. It's available for both iOS and Android devices. Mi-Clos Studio is currently perfecting Out There: Omega Edition, a larger, multi-platform version of the mobile game that will be available on PC, Mac, Linux, and Android and iOS. Out There: Omega Edition, currently in beta, will feature new alien breeds, new space ships, new interactive stories, uncharted planets and envi- ronments, as well as new endings. The Omega Edition soundtrack will feature 20 new, shorter music tracks. While the original Out There game used five music tracks, with the main gameplay track being close to nine minutes long, the shorter music tracks in Omega Edition will act as introductory music for each different type of star a player discovers. Barnhoorn explains, "The main focus for Omega Edition was the music changes with every new star you visit. We have yellow dwarfs, white dwarfs, red dwarfs, supernova, neutron stars — which are very dangerous and have a lot of power, red giants, blue giants, and also black holes, but those are dangerous places as well." Barnhoorn adds that once a star's introductory music is com- plete, it will transition into an ambient background track, and for garden planets that sustain life, there will be a few special ambient tracks that feature ethereal vocals. "It sounds like a siren singing, a subtle, strange, yet beautiful ambience with vocal elements," he says. The vocals are performed by Barnhoorn's girlfriend, vocalist Lara Ausensi. To create the music tracks, Barnhoorn used a combination of analog synth sounds from the Korg Minitron and software synths by Native Instruments, including Absynth, Massive and FM8. He also used library samples from The Unfinished by British composer/sound designer Matt Bowdler. "The Unfinished samples sound very amazing for the style that I was going for — that ambient spacey sound," says Barnhoorn, who also recorded guitar parts he played using an EBow by Heet Sound Products. The EBow continuously vibrates a guitar string, and creates a long stream of sound. Barnhoorn uses Steinberg's Cubase for recording, editing, sequencing, mixing and mastering. After mastering, he sends full mixed tracks (not stems) to Mi-Clos Studio for implementation. Barnhoorn wrote the original Out There score in D minor and cre- ated the sound design in D minor so the two elements would blend together. "When you press a button, for example, you'll hear the sound design for it, but it's in D minor, so it will match very nicely into the music," explains Barnhoorn. He created button sound variations in D minor for different features on the galaxy map and solar system map. Other tonal effects include a transform sound for when players terra- form a planet. "You shoot a beam at a planet and it changes the planet from a garden planet into a rocky planet with no life, or from a rocky planet into a garden planet," explains Barnhoorn. "That sound had to be short, about six seconds, but it had to be interesting too. I experi- mented quite a lot with sound design elements I recorded myself, mak- ing many layers of many sounds to eventually create that one sound." Non-tonal effects, such as drilling or shooting out a probe, Barnhoo- rn created using a combination of library effects and sounds he recorded in the studio. Additionally, players can communicate with alien life, whose language is inspired by the Philippines national language Tagalog. Barnhoorn created a communication sound by recording the eeeps and urnts generated by a '90's style modem and manipulating those using the plug-in Paul Stretch for pitch and time processing, and the Glitch plug-in by Illformed to generate a random- ized, mutated sound from which he pulled interesting snippets. "Paul Stretch keeps the important elements of the sound intact. You can stretch from two minutes to 20 minutes and it will still sound good," claims Barnhoorn. Shot Super 16, the look for Ten Thousand Saints was enhanced at Technicolor using Lustre. Murray and Lewars (L-R), above.

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