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“Courageous” Part Two: on-line

The way that the hand-off between Bunce’s iQ and Olive’s Pable is easy, according to Bunce. The iQ saves the conformed timeline, which is flagged in the clip library, and it is entered into the “gene pool” which allows Olive to see the sequence in the Pablo. The “gene pool” is really just a shared folder. In the Pogle days, this file used to be known, ominously, as “the black hole.”

The color correction process was a collaborative one, with director Alex Kendrick, D.P. Bob Scott,  and colorist Scot Olive having worked on two previous pictures together. They experimented with several different looks.

Post supervisor, Gallivan, praised the ease of working with colorist on the Pablo. “It was a distinctly different process working in Pablo doing non-linear color correction. The options and ability to move around is awesome and instant. You have so many options. Alex was really able to explore the look of the film. He tried a lot of different looks. At one point he really pushed it towards a distinct look. Then he pulled it back to a more natural look. “

According to Gallivan, the initial color correction of the film, done in December of 2010, took about a week, with a goal of completing one reel per day for the seven reels of the film (approximately 2 hours). There was a second color correction pass for the video deliverables that took about half that time.

With the color correction done, on-line editor, Bunce, could then bring that back in to his system for last minute fixes, such as the addition of a small number of on-screen graphics and minor edit tweaks.

Deliverables on a feature film are time consuming, absolutely critical and completely thankless. On-line editor, Bunce, was very impressed with the attention to detail and specific requests made in generating the deliverables. According to Bunce, many producers waste a lot of money by not having a clear, overall picture of their deliverable needs, but Gallivan was “very buttoned down. You had a great road map because she knew what she was doing.”

The main deliverable, since this feature hit more than 1,200 theaters in the US, plus expects a wide international release, was a filmout. The filmout was done on PostWorks Arrilaser. Because they have their own filmout capabilities and lab, Postworks’ LUTs for matching the look of print film stocks as the colorist grades on monitors needs very little tweaking, according to Gallivan. The LUTs were generated by the TrueLight system. Once the grade was done for the filmout, then they turned their attention to the REC 709 deliverables. There are also deliverables for DCP files for the theaters with digital projection.

One of the most painful deliverables for Gallivan and director, Alex Kendrick was the pan and scan version. The movie was framed for 2.35 aspect ratio, and cropping to 4:3 involved some difficult artistic compromises. Movies shown on airplanes and cruise ships still regularly request this aspect ratio for movies shown in those venues.

I was privileged to be flown in with the rest of the cast and crew to the premiere at the Fox Theater in Atlanta, where “Gone With the Wind” also premiered. It is a beautifully restored “movie palace” complete with an organist and animated clouds and stars on the ceiling. It was a great place to see all of the hard work of so many people come together.

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