Aug 15, 2019

Deluxe at TIFF 2019

The lineup for September’s Toronto International Film Festival (TIFF) includes a wealth of high-profile debuts from big name talent, and features that are already earning early awards season buzz. As with previous years, Deluxe is honored to have provided post production services to the many films being showcased at TIFF 2019. Among this year’s TIFF slate, Deluxe provided creative services for:

Deluxe Spain

Pain and Glory

Director: Pedro Almodóvar

Cinematographer: José Luis Alcaine

Colorist: Chema Alba

Deluxe Toronto

American Woman

Director: Semi Chellas

Cinematographer: Gregory Middleton

Colorist: Andrea Chlebak

Guest of Honor

Director: Atom Egoyan

Cinematographer: Paul Sarossy

Colorist: Chris Wallace

Deluxe New York

A Beautiful Day in the Neighborhood

Director: Marielle Heller

Cinematographer: Jody Lee Lipes

Colorist: Sam Daley

The Vigil

Director: Keith Thomas

Cinematographer: Zach Kuperstein

Colorist: Sam Daley

EFILM

Ford v. Ferrari

Director: James Mangold

Cinematographer: Phedon Papamichael

Colorist: Skip Kimball

Harriet

Director: Kasi Lemmons

Cinematographer: John Toll

Colorist: Tony Dustin

Hustlers

Director: Lorene Scafaria

Cinematographer: Todd Banhazi

Colorist: Walter Volpatto

The Goldfinch

Director: John Crowley

Cinematographer: Roger Deakins

Colorist: Mitch Paulson

Lucy in the Sky

Director: Noah Hawley

Cinematographer: Polly Morgan

Colorist: Natasha Leonnet  

Seberg

Director: Benedict Andrews

Cinematographer: Rachel Morrison

Colorist: Mitch Paulson

Synchronic

Director: Aaron Moorhead, Justin Benson

Cinematographer: Aaron Moorhead

Colorist: Mitch Paulson

The Obituary of Tunde Johnson

Director: Ali LeRoi

Cinematographer: Steven Holleran

Colorist: Jason Hanel

Encore

Limetown 

Creators: Zack Akers, Skip Bronkie

Director: Rebecca Thomas

Colorist: Natasha Leonnet


Jul 18, 2019

EFILM’s Skip Kimball Brings New Vibrancy to Netflix’s “Stranger Things 3”

The third season of Netflix’s beloved sci-fi series “Stranger Things” finds the town of Hawkins, Indiana enjoying the summer of 1985 and the opening of a new mega mall, at least for a brief while. Series creators Matt and Ross Duffer reteamed with EFILM Senior Colorist Skip Kimball and Cinematographer Tim Ives in setting the look for the latest installment, which features both familiar and new territory.

“Skip’s been with us since the very beginning (Season 1). He’s responsible for helping design the look for the show,” explained Matt Duffer.

“The previous two seasons of ‘Stranger Things’ had muted palettes and were more foreboding. We begin season three with bright, fun, and disarming colors, but as we all know, not all is right in Hawkins,” Kimball said. “We had a wider gamut to work with since the world is more vibrant and alive this time of year, and the kids spend time at the new mall so there are lots of neon signs and energetic colors everywhere. We really embraced a saturated color palette.”

Part of the charm of “Stranger Things” stems from its nostalgic aesthetic, influenced by the iconic works of Steven Spielberg and John Carpenter, which are evoked in seasons one and two. With the core cast growing older this season, visual references leaned more toward the look of ‘Fast Times at Ridgemont High’ and mid-80s MTV programming. Kimball completed the color grade at Deluxe’s Stage One in both HDR and Rec.709 SDR. A wide color gamut pipeline was maintained from acquisition to final delivery, with footage principally shot in 8K with RED Monstro VistaVision cameras, and all footage processed in REDWideGamutRGB color space using the Log3G10 transfer function.

“Working at Stage One was also great since the Duffer brothers, who are a joy to work with, were able to do their sound mix just down the hall. That allowed them to jump between color and mix without having to drive across town. My goal has always been to offer the most creatively conducive and convenient environment to my clients. That’s why Stage One is designed the way it is; it allows for a one-on-one boutique experience while being supported by a world-class facility that can scale to tackle any challenges that come our way,” noted Kimball.

“I don’t know how we would have finished a show this complicated without the convenience of being able to jump between sound and color like we did,” added Ross Duffer.

Final episodes were delivered in Dolby Vision HDR in UHD, using the latest generation Dolby Vision toolset to maintain the Duffers’ creative intent across HDR and SDR devices, especially considering the broad reach of Netflix and the way its content is consumed via many different types of screens.

Kimball concluded, “Each episode of ‘Stranger Things’ can have upwards of 1,000 cuts per episode; that’s a lot of fast-paced action and I’m thankful for my excellent team for keeping us organized and on schedule. The technical wizardry of Finishing Artist Tashi Trieu, my partner in crime, kept us nimble and responsive, and enabled us to accelerate our work in Dolby Vision, and our producers, Patrick Allen and Hershel Cohen, paid attention to the smallest of details and were very proactive, which is so important on a big project like this with so many moving components and layers of complexity.”

More info on “Stranger Things” can be found here: www.netflix.com/title/80057281


SPOTLIGHTS ARCHIVE

  • JUN 13, 2019 - EFILM SUPPORTS FILMMAKER BOB TALBOT’S BEING DOLPHIN 4D
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    JUN 12, 2019 - EFILM Colorist Jason Hanel Reteams with Illumination for ‘The Secret Life of Pets 2’
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    JUN 7, 2019 - EFILM's Mitch Paulson Re-Teams With Ava Duvernay For Netflix’s “When They See Us”
    VIEW ARTICLE

    MAY 28, 2019 - EFILM’S MITCH PAULSON COLORS SUPERHERO HORROR FILM ‘BRIGHTBURN’
    VIEW ARTICLE

    MAY 24, 2019 - Efilm’s Skip Kimball Accentuates Noir Vibes For ‘Pokémon: Detective Pikachu’
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  • MAY 9, 2019 - EFILM Welcomes Senior Colorist Tony Dustin
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    APR 9, 2019 - EFILM’s MITCH PAULSON DRAWS OUT DETAILS FROM THE SHADOWS FOR ‘PET SEMATARY’
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    FEB 14, 2019 - EFILM’s SKIP KIMBALL HELPS REALIZE THE VISUALLY COMPLEX WORLD OF FOX’S ‘ALITA: BATTLE ANGEL’
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    JAN 16, 2019 - Deluxe’s EFILM and Coca-Cola Regal Films Support Independent and Emerging Filmmakers at Sundance 2019
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    JAN 4, 2019 - EFILM’s TOM REISER HELPS DELIVER DIFFERENT LOOKS FOR EACH ROOM IN COLUMBIA PICTURES’ ESCAPE ROOM
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  • DEC 18, 2018 - DELUXE POST-PRODUCTION ELEVATES CHRIS HOLT TO EVP GLOBAL OPERATIONS AND HIRES MARK SMIRNOFF AS EVP SALES
    VIEW ARTICLE

    DEC 14, 2018 - EFILM’s NATASHA LEONNET HELPED PROVIDE COLOR FINISH TO SONY PICTURES’ SPIDER-MAN™: INTO THE SPIDER-VERSE
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    DEC 10, 2018 - Senior Colorist Walter Volpatto Joins EFILM
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    DEC 3, 2018 - EFILM Embarks on an Adventure in Whoville for Illumination’s “The Grinch”
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    NOV 28, 2018 - EFILM Steps Into The Ring For 'Creed II'
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  • OCT 17, 2018 - EFILM RE-TEAMS WITH OSCAR®-WINNING DIRECTOR DAMIEN CHAZELLE FOR UNIVERSAL PICTURES’ FIRST MAN
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    OCT 11, 2018 - Deluxe Unveils State-of-the-Art Color Grading Environment in Hollywood
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    SEP 25, 2018 - EFILM CELEBRATES 2018 FILM INDEPENDENT PROJECT INVOLVE FELLOWS
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    SEP 21, 2018 - EFILM Senior Colorist Mitch Paulson Helps Director Eli Roth Scare Up Family-Friendly Frights in ‘The House with a Clock in Its Walls’
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    AUG 29, 2018 - EFILM Senior Colorist Mitch Paulson Infuses Historical Authenticity for Operation Finale
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  • AUG 27, 2018 - Deluxe Congratulates TIFF 2018 Filmmakers
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    JUL 13, 2018 - Encore, EFILM and Deluxe Toronto Congratulate Talented Production Teams on 2018 Emmy Nominations
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    JUL 2, 2018 - EFilm Hosts Student Filmmakers from the Sundance Ignite Program
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    JUN 20, 2018 - EFILM and Encore saddle up for epic modern-Western series Yellowstone
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    JUN 4, 2018 - EFILM heads to Skywalker Ranch for Solo: A Star Wars Story
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  • JUN 1, 2018 - EFILM helps bring 80s sci-fi look to BH Tilt thriller Upgrade
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    MAY 29, 2018 - Cinematic Chaos: EFILM’s Skip Kimball Takes on Fox’s “Deadpool 2”
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    MAY 4, 2018 - EFILM Senior Colorist Natasha Leonnet Continues Longstanding Collaboration with Acclaimed Director Jason Reitman on New Comedy from Focus Features, Tully.
    VIEW ARTICLE