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News: Nucoda and Film Factory Create Immortal Images
News: Nucoda and Film Factory Create Immortal Images

Nucoda Film Master Key to Innovative Color Pipeline for Mega VFX Movie

Last Updated: November 11, 2011 6:11 pm GMT



(Los Angeles, California--November 11, 2011) Image Systems supported Paris-based Film Factory, a global post production company, in finishing Relativity Media's The Immortals. The visual effects-heavy movie, releasing in 2D and 3D, required cutting-edge looks and the right tools to create a strong graphical vision for the story. To help bring the visually rich film to fruition, Film Factory Senior Colorist and Post-Production Supervisor Lionel Kopp collaborated with the filmmakers to create a unique dailies-to-DI process built around the Nucoda Film Master. The Nucoda grading and mastering solution provided Film Factory with the advanced toolset necessary to achieve the surreal look, and streamlined the workflow, which included some 12-plus VFX houses around the globe.

From the producers of 300 and director Tarsem Singh, The Immortals opens worldwide on Friday, November 11. It's the mythical tale of a power-mad king (played by Mickey Rourke) who assails ancient Greece and threatens to destroy mankind, until a young villager (played by Henry Cavill) rises up against him. The movie was produced in Montreal, and photographed by cinematographer Brendan Galvin.



Film Factory established a workflow that centered around the Nucoda Film Master, which married a powerful on-set process to the final color pass. The Film Master system, which included a SAN and Nucoda Fuse assist station, were installed on set at Mel's Studios in Montreal. On set, camera dailies from the Panavision Genesis HD camera were sent to the editing room in DNX 175 format with color settings. Those settings were carried through in dailies, with the raw camera data held for future changes and final color. Kopp graded every take from the first day of dailies through completion of the DI, helping to establish a look from the earliest point possible. In dailies, he could adjust the looks with notes from the director or cinematographer, and make ongoing changes to the images. As visual effects came in, they were graded and cut, creating a unified version.

Kopp states, "The Nucoda grading and mastering solution was the hub for everything, which was a powerful home base. Dailies settings, visual effects, and the DI were all managed in the Nucoda Film Master."

Film Factory had made the decision to control the post production of the movie in-house. Film Factory's Second Colorist Marc Boucrot comments, "A DI, especially one for a huge movie, is usually done in a big post production facility. But Film Factory saw value and flexibility in keeping the process in-house. Since most companies don't have the expertise to build a fully functional and successful DI pipeline, we set out to make it happen. Film Factory built a screening environment and color timing areas right by the production offices. It was a risk, but it was a great success creatively and logistically."

Kopp adds, "Our thoughts about how to bring the creative vision of the filmmakers to life was greatly helped by the Nucoda Film Master. It was extremely helpful to be able to start 'grading' the film from day one, incorporating color graded visual effects and easily moving elements between set, editorial, and DI. In addition to the logistical power of the Nucoda range, the color grading tools are superior."

The Immortals is a 2D and 3D release, but 90% of the feature was shot in 2D. Kopp explains, "When we received the conform of the 3D material, we were able to go into the Nucoda and do a final pass of the stereoscopic material. We brought in the senior stereographer from the production to make sure everything was in order for the 3D, and the Nucoda helped make that process flawless."

Martin Bennett, MD of Media for Image Systems, states, "The movie looks incredible; it's a visual accomplishment, and we are honored to work with Lionel and our talented customers at Film Factory. We are excited to continue our relationship with them on Mirror Mirror, currently in post-production, and 10 other films in the pipeline."

About Image Systems
Image Systems Media Unit, formerly Digital Vision, is a division of Image Systems AB, which specializes in high-resolution image processing, film scanning and motion analysis solutions. Headquartered in Linköping, Sweden, Image Systems has offices in Stockholm, London and Los Angeles. The company has three business units: Media, Defense and Motion, managed via a global network of qualified distributors. Its Nucoda and Phoenix image grading and restoration software solutions and Golden Eye range of scanners provide innovative tools to create and master media in HD, 2K/4K and stereoscopic 3D. The TEMA software platform provides a range of user friendly, high-speed motion analysis solutions for the automotive industry and other industrial test and design applications. The TrackEye system provides image analysis solutions for the military reconnaissance and testing markets. For additional information, visit http://www.imagesystems.tv.

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