When you watch Brett Morgen’s documentary about Jane Goodall, the first thing that pops out is the stunning 16mm archival footage capturing the young primatologist in never-before-seen footage of her storied time in Gombe Stream National Park in Tanzania. Before agreeing to take the assignment, Morgen screened National Geographic footage of Goodall and the chimpanzees.
“They sent me an old print of it, and I was amazed at the content,” said Morgen. “I remember walking away from it thinking that this could be the greatest depository of 16mm film outside of Nasa.”
However, Morgen didn’t receive stunning historical footage ready-made to create the cinematic and immersive experience that is “Jane.” Morgen was forced to shut down production for six months, putting his editor on hold, while an army of assistant editors created logs to decode 140 hours of scrambled footage. The hardest part was identifying up to 160 chimps, and...
“They sent me an old print of it, and I was amazed at the content,” said Morgen. “I remember walking away from it thinking that this could be the greatest depository of 16mm film outside of Nasa.”
However, Morgen didn’t receive stunning historical footage ready-made to create the cinematic and immersive experience that is “Jane.” Morgen was forced to shut down production for six months, putting his editor on hold, while an army of assistant editors created logs to decode 140 hours of scrambled footage. The hardest part was identifying up to 160 chimps, and...
- 8/22/2018
- by Chris O'Falt
- Indiewire
Deadpool.
Deadpool, one of the biggest hits of the year so far, was finished on Baselight by colourist Tim Stipan at Deluxe.s Efilm facility in Hollywood.
.Working on such a complex, effects-heavy project often requires various external matte sequences in addition to multiple image tracks", Stipan said.
"Multiply that by the large number of VFX vendors, and it meant we had a lot of different layers and mattes".
During Deadpool.s production in Vancouver, Stipan and DoP Ken Seng (an old university friend) ran camera and lens tests, then devised a set of reference looks on-set, much of which could be created in camera to build a natural look..
They also tested different film grains that were used for some of the versions of the movie, with the exception of Hdr, IMAX and Dolby Vision.
.We were going for a gritty look. We didn.t want a very saturated,...
Deadpool, one of the biggest hits of the year so far, was finished on Baselight by colourist Tim Stipan at Deluxe.s Efilm facility in Hollywood.
.Working on such a complex, effects-heavy project often requires various external matte sequences in addition to multiple image tracks", Stipan said.
"Multiply that by the large number of VFX vendors, and it meant we had a lot of different layers and mattes".
During Deadpool.s production in Vancouver, Stipan and DoP Ken Seng (an old university friend) ran camera and lens tests, then devised a set of reference looks on-set, much of which could be created in camera to build a natural look..
They also tested different film grains that were used for some of the versions of the movie, with the exception of Hdr, IMAX and Dolby Vision.
.We were going for a gritty look. We didn.t want a very saturated,...
- 3/9/2016
- by Staff Writer
- IF.com.au
Deadpool.
Deadpool, one of the biggest hits of the year so far, was finished on Baselight by colourist Tim Stipan at Deluxe.s Efilm facility in Hollywood.
.Working on such a complex, effects-heavy project often requires various external matte sequences in addition to multiple image tracks", Stipan said.
"Multiply that by the large number of VFX vendors, and it meant we had a lot of different layers and mattes".
During Deadpool.s production in Vancouver, Stipan and DoP Ken Seng (an old university friend) ran camera and lens tests, then devised a set of reference looks on-set, much of which could be created in camera to build a natural look..
They also tested different film grains that were used for some of the versions of the movie, with the exception of Hdr, IMAX and Dolby Vision.
.We were going for a gritty look. We didn.t want a very saturated,...
Deadpool, one of the biggest hits of the year so far, was finished on Baselight by colourist Tim Stipan at Deluxe.s Efilm facility in Hollywood.
.Working on such a complex, effects-heavy project often requires various external matte sequences in addition to multiple image tracks", Stipan said.
"Multiply that by the large number of VFX vendors, and it meant we had a lot of different layers and mattes".
During Deadpool.s production in Vancouver, Stipan and DoP Ken Seng (an old university friend) ran camera and lens tests, then devised a set of reference looks on-set, much of which could be created in camera to build a natural look..
They also tested different film grains that were used for some of the versions of the movie, with the exception of Hdr, IMAX and Dolby Vision.
.We were going for a gritty look. We didn.t want a very saturated,...
- 3/9/2016
- by Staff Writer
- IF.com.au
Deadpool.
Deadpool, one of the biggest hits of the year so far, was finished on Baselight by colourist Tim Stipan at Deluxe.s Efilm facility in Hollywood.
.Working on such a complex, effects-heavy project often requires various external matte sequences in addition to multiple image tracks", Stipan said.
"Multiply that by the large number of VFX vendors, and it meant we had a lot of different layers and mattes".
During Deadpool.s production in Vancouver, Stipan and DoP Ken Seng (an old university friend) ran camera and lens tests, then devised a set of reference looks on-set, much of which could be created in camera to build a natural look..
They also tested different film grains that were used for some of the versions of the movie, with the exception of Hdr, IMAX and Dolby Vision.
.We were going for a gritty look. We didn.t want a very saturated,...
Deadpool, one of the biggest hits of the year so far, was finished on Baselight by colourist Tim Stipan at Deluxe.s Efilm facility in Hollywood.
.Working on such a complex, effects-heavy project often requires various external matte sequences in addition to multiple image tracks", Stipan said.
"Multiply that by the large number of VFX vendors, and it meant we had a lot of different layers and mattes".
During Deadpool.s production in Vancouver, Stipan and DoP Ken Seng (an old university friend) ran camera and lens tests, then devised a set of reference looks on-set, much of which could be created in camera to build a natural look..
They also tested different film grains that were used for some of the versions of the movie, with the exception of Hdr, IMAX and Dolby Vision.
.We were going for a gritty look. We didn.t want a very saturated,...
- 3/9/2016
- by Staff Writer
- IF.com.au
Deadpool.
Deadpool, one of the biggest hits of the year so far, was finished on Baselight by colourist Tim Stipan at Deluxe.s Efilm facility in Hollywood.
.Working on such a complex, effects-heavy project often requires various external matte sequences in addition to multiple image tracks", Stipan said.
"Multiply that by the large number of VFX vendors, and it meant we had a lot of different layers and mattes".
During Deadpool.s production in Vancouver, Stipan and DoP Ken Seng (an old university friend) ran camera and lens tests, then devised a set of reference looks on-set, much of which could be created in camera to build a natural look..
They also tested different film grains that were used for some of the versions of the movie, with the exception of Hdr, IMAX and Dolby Vision.
.We were going for a gritty look. We didn.t want a very saturated,...
Deadpool, one of the biggest hits of the year so far, was finished on Baselight by colourist Tim Stipan at Deluxe.s Efilm facility in Hollywood.
.Working on such a complex, effects-heavy project often requires various external matte sequences in addition to multiple image tracks", Stipan said.
"Multiply that by the large number of VFX vendors, and it meant we had a lot of different layers and mattes".
During Deadpool.s production in Vancouver, Stipan and DoP Ken Seng (an old university friend) ran camera and lens tests, then devised a set of reference looks on-set, much of which could be created in camera to build a natural look..
They also tested different film grains that were used for some of the versions of the movie, with the exception of Hdr, IMAX and Dolby Vision.
.We were going for a gritty look. We didn.t want a very saturated,...
- 3/9/2016
- by Staff Writer
- IF.com.au
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