- Featured Projects
- Inherent Vice
- The Boxtrolls
- It’s a Mad, Mad, Mad, Mad World
- House of Lies
- Jackass Presents: Bad Grandpa
- Breaking Bad
- We're the Millers
- Fruitvale Station
- Hello, Dolly!
- The X Factor
- The Master
- Katy Perry: All of Me
- Snow White and the Huntsman
- Jeff Who Lives at Home
- All Quiet on the Western Front
- Mission: Impossible-Ghost Protocol
- The Glee Project
- Platinum Hit
Jackass Presents: Bad Grandpa
Johnny Knoxville returns to the big screen with all the usual antics of the Jackass brand in Bad Grandpa.
Knoxville plays 86-year-old Irving Zisman, who is on a journey across America with the most unlikely
companion: his 8 year-old grandson, Billy.
FotoKem's Non-Linear Services Department provided production and editorial space, along with Avid workstations. Final color, several VFX sequences, along with home video, domestic and original version international trailers were finished at FotoKem, with Keep Me Posted (KMP) localizing all the international trailers in their native language. FotoKem's nextSPOT platform handled the distribution and revision process for trailer reviews and approvals.
Colorist Tom Sartori Recounts His Experience on Breaking Bad and
FotoKem's Role on a Legendary Series
When FotoKem colorist Tom Sartori started working on the pilot for an AMC show called Breaking Bad six years ago he was immediately struck by the quality of the writing, acting and cinematography. It seemed like what he calls "a perfect storm" of talents all working together to tell an incredible story.
Now, with the show's series finale, Sartori is thankful to have been the colorist for the entire run of Breaking Bad, after legendary cinematographer John Toll, ASC first recommended him for the job. "John (Toll) shot the pilot and he had seen my resume," says Sartori, who is known for his color work on such TV shows like Seinfeld and Murphy Brown.
The FotoKem team knows what it takes to streamline the color grading process so that tight TV deadlines can be met while still preserving the high quality of a show. That expertise was applied early on for Breaking Bad, a show that has won numerous awards, critical acclaim and a cult following.
For Breaking Bad, the color negative came to FotoKem from the set in New Mexico for processing and transferring in telecine. Dailies colorist Greg Curry was the first step in the pipeline, and after transfer, footage was sent out to the production, creative team, and editorial. When the show was assembled and ready for final color, Sartori collaborated with cinematographer Michael Slovis, ASC, creator Vince Gilligan, producer Diane Mercer and sometimes others, such as the writer or director of a particular episode, when designing the perfect hue for Breaking Bad.
FotoKem Helps We're the Millers Hit its Comedic Stride
Movie Relies on nextLAB® from Set to DI for Consistent Color Control
What happens when you cross a fake family with an RV headed to Mexico and back? You get We're the Millers, the latest comedy from Rawson Marshall Thurber (Dodgeball: A True Underdog Story), starring Jennifer Aniston and Jason Sudeikis. The movie follows the mayhem that ensues when a pot dealer fabricates a typical American family from a stripper, a runaway girl, and a teen virgin boy, to move a big shipment from Mexico to the United States.
When cinematographer Barry Peterson came on board, his goal was to keep the look of the film “grounded in reality - not overly broad or colorful.” He felt the best way to realize that objective was to use the same facility for both the dailies and final DI.
We're the Millers was Peterson's first experience with FotoKem's nextLAB® system. He utilized nextLAB® Live on set and nextLAB® Post near set for dailies and deliverables. The units traveled with the production, which shot in North Carolina and New Mexico, allowing Peterson to establish his color palette and carry it through to post.
Peterson shot ARRIRAW on Codex, simultaneously recording ProRes to SxS cards as backup. “I monitored ARRIRAW on set with FotoKem's ARRIRAW to 709 display LUT, and created on-set looks with nextLAB® Live,” he explains. “I saved them as CDL files, which were sent to the FotoKem nextLAB® Post team in the production office with the daily footage to create the dailies that were viewed via PIX and on DVD.”
SPY's Chris Martin Discusses DI for Fruitvale Station
Indie Pic Benefits from Full-Service Offerings between SPY and FotoKem
As indie success stories go, Fruitvale Station emerged as the film that rocked Sundance this year. Written and directed by Ryan Coogler with cinematography by Rachel Morrison, the movie won the festival's coveted Grand Jury Prize and Audience Award for a drama, and was acquired by The Weinstein Company soon after its premiere screening. Earning much critical fanfare, Fruitvale Station hits theaters this July.
The film follows the final day of 22-year old Oscar Grant, who was gunned down by a police officer at the Fruitvale stop of an Oakland transit line. The tragedy was caught on video, and the incident made national headlines.
FotoKem and SPY (a FotoKem company) in San Francisco put its significant talent and key post production services in place for this Sundance-winning film. Providing end-to-end services for the indie Super 16 mm project, the two facilities worked closely with the filmmakers from start to finish.
Fruitvale Station was shot on location in San Francisco. FotoKem in Burbank handled processing and transferring, and SPY conformed the files for final color, which was performed by Chris Martin with Coogler and Morrison.
Here, Martin talks about his collaboration with the filmmakers and the creative vision that drove the look of the story:
FotoKem Restores Hello, Dolly! For 20th Century Fox Blu-ray Release
FotoKem completed the digital restoration of Hello, Dolly!, returning the 1969 film adaptation of the beloved musical, directed by Gene Kelly and starring Barbra Streisand and Walter Matthau, to its original glory. Under the supervision of 20th Century Fox's Barbara Crandall, the movie was remastered in 4K for the April 2 Blu-ray release. FotoKem also created a new 70mm print and a new 65mm intermediate positive (IP) for the studio for archival purposes.
FotoKem began the restoration process with the creation of a new 70mm answer print and 65mm IP, followed by an 8K scan of the new IP using FotoKem's large format Imagica scanners. Those files were imported into FotoKem's digital restoration pipeline at 4K, where cleanup of artifacts, such as dirt, gate hairs, scratches and flicker, was performed.
When restoration was complete, the entire film went through a final grading pass at FotoKem, performed at 4K by colorist Walter Volpatto working in tandem with film colorist Kristen Zimmermann. Performing print and digital color timing of Hello Dolly! in sequence allowed FotoKem to deliver a pristine 4K master that closely matched the projected 70mm version of the classic film.
FotoKem's Andrew Oran, VP of Large Format and Restoration Services, says, “We're honored to have played a part in Fox's efforts to restore this classic musical to its original luster for a new generation to enjoy; and we're proud of the expertise, high quality tools and custom solutions that distinguish our on-going efforts to preserve cinema's heritage.”
Raising the Curtain at Sundance:
FotoKem Supports Indie Filmmaking
FotoKem is proud to have provided post-production services to several films that premiered at the 2013 Sundance Film Festival.
FRUITVALE took home the coveted Sundance Grand Jury Prize, as well as Audience Award in the drama category. Ryan Coogler's directorial debut follows the final day of 22-year old Oscar Grant, who was gunned down by a police officer at the Fruitvale stop of an Oakland transit line. Providing end-to-end services for the Super 16 mm project, FotoKem and SPY worked closely with the filmmakers from start to finish. Fruitvale was processed and scanned to HDCAM SR at FotoKem in Burbank. The materials were then delivered to SPY's headquarters in San Francisco, where the files were conformed and colorist Chris Martin color graded the film with Coogler and DP Rachel Morrison.
THE WAY, WAY BACK, directed by Nat Faxon and Jim Rash with cinematography by John Bailey, ASC, was picked up by Fox Searchlight for the second biggest acquisition deal in the history of Sundance. FotoKem collaborated with the production and provided a nextLAB Mobile data management solution. Media from nextLAB then made it over to the DI suite, where FotoKem colorist Kostas Theodosiou put the final touches on the film with the filmmakers.
Kostas also color graded, LOVELACE, directed by Rob Epstein and Jeffrey Friedman. Cinematographer Eric Alan Edwards chose to shoot the story of porn star Linda Lovelace on 35mm film. FotoKem processed the negative, provided dailies, and ushered it through the DI just in time for RADiUS-TWC to secure the U.S. distribution rights to the film.
The Miller brothers took on the western genre with SWEETWATER, and FotoKem took on the film processing, telecine and DI with Keep Me Posted contributing visual effects services.
Cinematographer Bradford Young won the Sundance Cinematography Award for a drama for his work on AIN'T THEM BODIES SAINTS. Young chose 35mm film as his canvas for the story, entrusting FotoKem with film processing and telecine services. The film was acquired by IFC Films.
Taylor Hackford Returns to FotoKem for Latest Project
Parker, adapted from Donald E. Westlake's Flashfire, is the latest big screen representation of the author's famous character and the first to have the blessing of using the literary name. Jason Statham joins an exclusive club dating back to 1967, when Lee Marvin played the character as Walker in the film Point Blank. Robert Duvall and Mel Gibson also portrayed the “thief with a self-guided morality.” Parker, directed and produced by Oscar®-winning director Taylor Hackford, also stars Jennifer Lopez, Michael Chiklis and Nick Nolte, and marks Hackford's first genre film.
FotoKem was engaged in the project from pre-production look development, camera selection and format processes, to on-set collaboration with the cinematographer and DIT, dailies, editorial, final color and DI mastering. Colorist Alastor Arnold sat at the controls for the DI, supervised by Hackford, to bring the look developed during pre-production to life. The tone and visual palette from color decisions on location in New Orleans remained intact from FotoKem's proprietary nextLAB solution as a guide for final color, and was refined in the room with Hackford and DP Jim Muro.
Having worked with Arnold on his previous film Love Ranch in 2009, a creative shorthand had already been established between the director and colorist, and the advancement of digital tools furthered the capability of the DI process.
Parker was shot anamorphically by Muro with the RED EPIC on location in Louisiana. The 5K raw media was sent back to FotoKem Burbank for dailies transcodes, media management, VFX prep, and archive. Establishing a color pipeline with Muro and his DIT on set allowed for the accurate flow of metadata and reference imagery to editorial and viewing media, as well as the start point for the final color session on the Quantel Pablo.
From the outset, equal weight was placed on creating the best look for both the increasingly prevalent digital cinema infrastructure and the film out to negative for traditional print projection systems, as well as to the home viewing environment.