DIVE Provides On-Set VFX Supervision & Innovative Digital Workflow For Dir. Niels Arden Oplev's "Dead Man Down"

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Last Updated: March 8, 2013 12:21 pm GMT
(New York, New York--March 8, 2013) The visual effects and postproduction team at DIVE -- a division of ShootersINC, which specializes in visual effects and picture finishing for feature films, television shows and commercials – provided on-set VFX Supervision, on-set live compositing, and extensive postproduction including the creation of an innovative digital workflow for Director Niels Arden Oplev’s (“Girl With the Dragon Tattoo”) newest feature film “DEAD MAN DOWN,” which premieres in theaters nationwide Friday, March 8th.



To view a trailer from the film: http://trailers.apple.com/trailers/independent/deadmandown/

“DEAD MAN DOWN” is an action thriller that stars Colin Farrell and Noomi Rapace as two strangers whose mutual desire for revenge draws them together and triggers an escalating trail of mayhem. The film, which also stars Academy Award nominee Terrence Howard and Dominic Cooper, marks the American theatrical debut of Director Niels Arden Oplev.

According to Director of Photography Paul Cameron, ASC, (“Total Recall,” “Collateral,” “Man on Fire”), the DIVE team was great to work with on-set and for their collaboration on the digital workflow. “As the majority of shooting would take place in Philadelphia doubling as New York City, I wanted to find a house that I could work with there on camera tests; to review and color correct them in a good DI environment,” explains Cameron. “On-set, I worked with DIVE’s VFX Supervisor Ed Mendez on a number of scenes requiring visual effects. Ed was there for all practical green screen scenes. Early in production, he assisted me shooting the balcony plates on Red Epic 5K. Then on the tenement/balcony set in Philadelphia, Ed provided live composites with the NYC plates. It really helped to line up shots and adjust perspectives. We pulled live screen grabs from the composites, so the editorial team could see our alignment from each camera. It was a great tool for making lighting adjustments as well. I want to add praise for John-Michael Trojan at DIVE. He established the digital workflow with DIT Dane Brehm and SIXTEEN19 for transcoding the dailies and securing the meta data. Everyone at DIVE was really great to collaborate with on this film.”

DIVE’s VFX Supervisor Ed Mendez and VFX Producer Andy Williams were on-location with Cameron shooting in New York, as well as extensive shooting on-set in Philadelphia. The production team built three stories of the Lower East Side tenement building featured in the film at an old Sea Plane Hanger in the Naval Yard in Philadelphia. This was where Mendez completed live compositing. They also shot on the actual SS United States, a ship from 1952 dry-docked in Philadelphia.

Key visual effects sequences that DIVE’s Mendez supervised included scenes of Farrell and Rapace on the balconies of their New York City apartment building, as well as a concluding battle and crash scene. “The crash scene is one of my favorites in the film,” notes Mendez. “We shot all the elements needed for the car to fly over the six-camera set-up and crash into the house. In the end, it worked out as we planned on-set and you are able to see the surrounding neighborhood in the shot.”

“It was a wonderful opportunity working with Paul Cameron, who knows what a VFX team can bring to a set and how VFX will integrate with his photography,” adds DIVE VFX Producer Andy Williams. “Further, the live-compositing that Ed and the team did on-set drove the creative direction of the finished VFX shots.”

DIVE’s Color Pipeline Manager John-Michael Trojan collaborated closely with DP Cameron and his DIT (Digital Imaging Technician) Dane Brehm to create an innovative digital workflow which allowed Cameron to have a consistent viewing of color whether in the DIVE/ShootersINC DI Theater in Philadelphia, on-set, or on his iPad which he took home each night to review dailies. SIXTEEN19 completed the transfer of all the dailies “Paul and Dane came to us well before production started,” explains Trojan. “This helped us to work together to design a dailies pipeline that was truly cutting-edge and pushed the boundaries of what was previously possible.”

DIVE’s studio in Philadelphia also hosted the editorial team for “DEAD MAN DOWN” during production, providing Avid editing systems and technical support. The close proximity allowed for more interaction between the visual effects team and the postproduction team. DIVE also provided home for the production team to review multiple camera formats including RED, Epic, Alexa and Canon 300C just as the new Canon camera was released.

Over the course of their collaboration on “DEAD MAN DOWN,” the DIVE visual effects and postproduction team relied on leading-edge technology including Nuke, Resolve, Conduit and Adobe Photoshop.


Credits:

Client: Feature Film: “DEAD MAN DOWN”
Director: Niels Arden Oplev
Co-Executive Producer: Joseph Zolfo
Production Designer: Niels Sejer
DP: Paul Cameron
DIT: Dane Brehm
VFX Supervisor (Post): Erik Henry

Visual Effects Company: DIVE
VFX On-Set Supervisor: Ed Mendez
VFX On-Set Producer: Andy Williams
VFX Executive Producer: Bob Lowery
VFX Consultant: Mark Forker

Postproduction Company: DIVE
Color Pipeline Manager: John-Michael Trojan
Plates Colorist: Alex Bickel


DIVE (http://www.divevisual.com) is the visual effects and picture finishing division of ShootersINC, led by veteran Visual Effects Supervisor Mark O. Forker, working in feature films, television shows and commercials. One of the east coast’s premier visual effects and finishing services, DIVE works in collaboration with content creators to produce Visual Effects, Digital Intermediates and Main Titles by coupling creative continuity and expertise with cutting-edge pipeline and workflow. For more information, contact DIVE VP Business Development, Bob Lowery (bob@divevisual.com) at 267.514.7700.

ShootersINC (http://www.shootersinc.com) is a fully integrated content company that blends talent, technology and client service to provide a superior level of quality and creativity. We provide production, editorial, visual effects, graphic design, finishing and sound design for advertising, television, feature film and branded entertainment. For more information, contact Shooters’ Vice President, Business Development, Anne Marie Starker (anne@shootersinc.com) or phone 215.861.0123.

ShootersNYC (http://www.shootersnyc.com) is the New York content creation division of ShootersINC, We offer a unique integrated approach by providing production and post with our directors, creative editors, visual effects artists and graphic designers for advertising, television, web/digital and feature films. For more information, contact Managing Director Jeff Beckerman at 212.533.9400 or at jeff@shootersnyc.com.

ShootersTV (http://www.shooterstv.com) develops and produces non-fiction television for clients up and down the channel lineup. We are a division of the ShootersINC companies and one of the producers of Food Network's hit “Restaurant: Impossible.” With mature businesses in advertising, branded entertainment, visual effects, and on-air promotion, we offer clients added value with a 360-degree approach to content creation during every phase of development, production and marketing. ShootersTV clients include A&E, Lexus, The Weinstein Company, and Scripps Networks Interactive. For more information, contact Rob Miller at Peleton Entertainment, email at rob@peletontv.com Phone 212.572.9632

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