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Bits & Pieces N Moonrise Kingdom posted at Technicolor-PostWorks EW YORK — Technicolor-PostWorks New York (www.pwny.com) provided an array of film lab and digital post production services for Moonrise Kingdom, the new film from Focus Fea- tures and director Wes Anderson that opened the Cannes Interna- tional Film Festival. The facility handled film process- ing, dailies production and digital intermediate color grading for the project. DCP production and film recording were done at Technicolor, Los Angeles. Moonrise Kingdom is set in 1965 and tells the story of two 12 year olds who fall in love and make a secret pact. The film stars Bruce Willis, Edward Norton, Bill Murray, Frances McDormand, Tilda Swinton, Jason Schwartzman and Bob Balaban. Technicolor-PostWorks New York was involved in the project for more than 10 months, beginning with pre-production. The facility's film lab and color grading department assisted Anderson and cinematographer Robert D. Yeoman, ASC, in testing various film stocks and digital camera formats. The production ultimately chose to shoot on Kodak Super 16mm film. During production, Technicolor-PostWorks pro- cessed the film negative and prepared video dailies. Moonrise Kingdom was scanned in Los Angeles at Technicolor on an Arri Scanner. Dailies were streamed to Anderson and his crew while they were working on location in Rhode Island. The conform was done at speedy workflow M Independent embraces ILWAUKEE — Independent Studios (www.independentstudios.tv) has been busy lately, providing audio and post services to such brands as Tax Act, Ski Do and West Bend Insurance. Randy Bobo, owner at Independent Stu- dios, has been calling on its three-bay Fair- light Constellation XCS console to help speed up the work. "All of our clients come from advertising agencies, therefore we need to be ready to handle any project that comes our way." Color grading was completed on Autodesk Lustre. Technicolor-PostWorks New York on a Smoke and color correction was performed using Lustre. Tim Sti- pan performed final color grading in the facility's DI theater. Anderson, Yeoman and editor Andrew Weis- blum attended many of the grading sessions and also participated in remote viewings as Stipan graded on synchronized and color-calibrated projection screens at Technicolor facilities in Los Angeles and London using Technicolor's Tech-2-Tech service. Fraunhofer details benefits of high-frame-rate stereo 3D E RLANGEN, GERMANY — The Department of Moving Picture Technologies at Fraunhofer IIS (www.iis.fraunhofer.de), here, recently showed its high-frame-rate technologies for 3D at the NAB show and CinemaCon in Las Vegas. Together with Arri and Stereotec, Fraunhofer IIS shot short test clips at 120fps per eye (fpspe) to simulate content at various frame rates and to create digital cinema packages (DCP) that will play back at 24fpspe, 30fpspe and 60fpspe, all based on the same footage. The tests involved shooting with two Arri Alexa cameras and a mid-size rig from Stereotec. According to Siegfried Foessel, head of the department for Moving Picture Technologies, the com- pany was able to show the difference in appearance between high-frame-rate stereo 3D content and low frame rate stereo 3D. At NAB, for example, Fraunhofer IIS used a Barco projector, a Qube inte- grated media block and standard polarizied glasses to show attendees how stereo 3D, shot at 120fpspe looks when converted to 60fpspe. Foessel says the footage that originated at 120fpspe contained more sharpness and more homegenous movement. Higher frame rates for 3D shooting and viewing offer better image quality. Director Peter Jackson is shooting The Hobbit at 48fpspe; James Cameron says the next Avatar will be shot at 60fpspe. The 120fps capture is easily divisible for creating DCP packages. 24fps is one-fifth of 120fps frame rate; 30fps is one- fourth; and 60fps is a half of the original frame rate. Until now, 3D movies were shot and viewed with 24fps. This low frame rate has been known to cause motion blur or stuttering when there is fast movement. 8 Post • June 2012 www.postmagazine.com In addition to spots, they have also contrib- uted to indie films and docs, including Sweet Land, which won an Independent Spirit Award. "Budgets are being cut everywhere, but we haven't missed a step," Bobo says. "We were able to build the entire film using our Fairlight system and pre-mixed it so it could be exported through an OMF. We even had time to spare. Our work to organize and prep the soundtrack made it even easier for the final mixing process to be done in four days after we passed it on" Independent's server allows for sending files back and forth between mixers and clients. Green "Check the pressure in your tires and keep them inflated to the proper pressure to improve your gas mileage. Better yet, make a deal with yourself to skip the car at least one day a week (this includes cabs for New Yorkers)." — Lesley Chilcott, producer and Earth advocate Ideas