The people adding their magic to post production, dailies, colourising and the finished output
In 2012, Zak Tucker, Joe Gawler and Theo Stanley launched The Harbor Picture Company in New York. Today, it has expanded to include additional facilities in LA and London, offering a wide array of live-action, dailies, creative and offline editorial, design, animation, VFX, CG, sound and picture finishing.
Founded more than 45 years ago, Molinare is widely-recognised as a leading supplier in the UK post production scene, completing high-end projects across feature films, high-end TV drama, feature documentaries and broadcast factual programming.
In the ongoing series looking at the 4k and HDR restoration of classic films, Kevin Hilton talks to Tony Richmond BSC ASC about filming Nicolas Roeg's 1973 thriller Don't Look Now and working the colour correction and grading for its 4k reissue.
In the first of an ongoing series looking at the 4k and HDR restoration of classic films, Kevin Hilton talks to Dean Cundey ASC about shooting John Carpenter's Escape from New York and his involvement in the recent remastered version.
Colourist Kevin Shaw says there are many misguided beliefs about HDR, plus the current mixed offering to consumers further complicates progress in creating a better viewing experience.
Since setting up a simple digital dailies service five years ago, Pinewood Digital has grown into a full-service picture-post facility supporting digital and film workflows for film and TV productions globally.
Peter Doyle, supervising digital colourist at Technicolor, gives an insight into how HDR contributes to storytelling.
