How To
Managing the Amazing, Affecting Material for “Da 5 Bloods”
Colorist Stephen Nakamura details how he worked with Spike Lee and cinematographer Tom Sigel across multiple formats, aspect ratios and visual elements.
Company 3
How To
Into the Dark (But Not Completely): Cinematography on Season 3 of “Ozark”
“You know those joyful scenes in a thriller or horror movie, right before the hammer comes down, that trick the audience? Well, ‘Ozark’ is...
Video
Watch This Webcast Series: “Working in HDR – From Set to Screen”
Learn about the end-to-end content creation workflow for HDR content and guidelines for success
How To
“Togo:” New Technologies, 19th-Century Tones
Company 3 colorist Siggy Ferstl spent a whole year refining a specific look for the Disney+ period piece.
Product Reviews
Your 8K Ecosystem is Almost Ready
Content is already being shot, posted and displayed at 8K and many facets of the industry—acquisition, post, delivery—are gearing up
PR Wire
Cooke 5/i Lenses Help Define the Cinematic Look of HBO’s “Insecure”
“The 5/i’s really are an integral part of developing the look of ‘Insecure,’ they are so specifically ingrained in the DNA or the personality...
Creative Inspiration
Night and the City: “21 Bridges” With Sony’s VENICE (the Why and the How)
“This was now going beyond the step of just emulating film or trying to get as good as film to where I actually now...
PR Wire
Deluxe’s Company 3 and Encore Unleash The Portal for “American Gods”
Project marks first deployment of innovative VFX editorial workflow web service for a TV series Los Angeles, CA– June 20, 2017 – STARZ’s original...
PR Wire
Company 3, Subsidiary of Deluxe Entertainment Services, Acquires Sixteen19
This strategic acquisition expands editorial, VFX and mobile dailies services
News and Features
Company 3 Creates Tones for ‘Paper Towns’
When color grading Paper Towns, director Jake Schreier wanted the visual feel of the coming-of-age film about a mysterious girl’s disappearance to walk the...
PR Wire
Company 3’s Dave Hussey Colors New York Times VR Documentary “The Displaced”
Film Directed by Vrse.works’ Imraan Ismail & Ben Solomon, Available to Over 1 Million NYT Subscribers The New York Times is taking its first...
News and Features
Company 3 Enhances the “Beauty” of “Swiss Army Man”
“The were very concerned with preserving the unique tone of the film in the grade,” colorist Sofie Borup explains.
News and Features
Company 3 Contributes to the Raw Look of ‘Narcos’
The Netflix series Narcos takes an unflinching look at Colombian drug kingpin Pablo Escobar (Wagner Moura) the formidable empire he ruled in the late...
News and Features
Company 3 and Sister Companies Complete Post Work on ‘Spectre’
Company 3, a Deluxe Creative Services company, completed post-production work on the new James Bond feature, Spectre, the 24th James Bond feature and the...
News and Features
Neighborhood Watch: Postproduction on Dark Satire ‘Suburbicon’
'Suburbicon' combines an unproduced Coen Brothers screenplay with the story of an African-American couple moving to Levittown, Pa., in the summer of 1957.
News
In ‘It,’ HDR Darkness is the Scariest of All
"In the Dolby Cinema version, we were able to take advantage of that very high contrast range that lets you have a scene that...
News
Color, Contrast, Creativity on ‘American Gods’
"The subject matter and imagery is abstract and the grade goes along with it."
News
How to Think About Color Grading While On-Set
In an episode of Digital Production Buzz’s podcast, Company 3 senior colorist Stephen Nakamura ( Oz, The Great and Powerful, Prometheus, Zero Dark Thirty )...
News and Features
How ‘Z: The Beginning of Everything’ Transports Viewers
Nobody embodied the wild excesses of the Jazz Age more than Zelda Fitzgerald, whose flamboyant highs and desperate lows mirrored the turbulence of post-World...
News and Features
‘Nocturnal Animals’ Color Combines DI and VFX Processes
“Filmmakers expect much more from color grading sessions than they did not so long ago,” says Siggy Ferstl.
‘Swiss Army Man’: How Adobe Creative Cloud Served as an All-Purpose Post Tool
When it comes to quirky movies, Swiss Army Man stands alone. Read our full story here.
Distribute
Deluxe Streamlines VFX Workflow for ‘Star Trek Beyond’ with The Portal
Unique workflow automatically formats, distributes media and metadata to multiple VFX houses at previously impossible speeds
News and Features
Perfecting the Color Palette of ‘Pee-wee’s Big Holiday’
" wanted an image that was definitely colorful but not oversaturated. In fact, we pulled back on the saturation of some of the reds...
News and Features
Cocaine, Cartels & Countermeasures: The Notorious World of the Netflix Series ‘Narcos’
"We wanted to be, and to look, authentic, and to have that feel, which is really hard to get in a studio," says...
News and Features
Learn From the Experts: Sony Pro Live, Premiering September 10
The #SonyProLive web series kicks off Thursday, September 10th. Planned guests include Rob Hardy, Director of Photography for Ex Machinaand Stephen Nakamura, Senior Colorist...
News and Features
Designing the Palette for ‘Paper Towns’
When colorist Sean Coleman of Company 3 Santa Monica landed the Paper Towns assignment, he was delighted that he’d be working with director Jake...
News and Features
‘Amy’: Exploring the Darker Side of Fame and Success
From the production team behind Senna comes an emotionally charged documentary film chronicling British singer-songwriter Amy Winehouse’s life and career, featuring previously unseen archive...
News and Features
Company 3 Adds Emotional Impact to ‘Nightingale’
Colorist Dave Hussey worked on subtle grading effects designed to help put the viewer in the main character’s deteriorating state of mind.
News
Company 3 Colors Cobain Doc ‘Montage of Heck’
Filmmaker Brett Morgen worked with Company 3 and colorist Shane Harris to color grade Kurt Cobain: Montage of Heck, a documentary that combines interviews,...
News and Features
Company 3 Teams With Joseph Kahn (and Taylor Swift) for Epic “Bad Blood” Video
Colorist Dave Hussey reunited with director Joseph Kahn on this complex, elaborate piece, infused with the look and feel of a trailer for a...
News and Features
Stylized ‘Lost River’ Visuals Enhanced at Company 3
Ryan Gosling was adamant about filling Lost River, his directorial debut, with visceral, unforgettable imagery. He achieved this goal through collaborations with cinematographer Benoît...
News and Features
Company 3’s Shane Harris Grades ‘Dawn of the Planet of the Apes’ with Blackmagic DaVinci Resolve
Colorist Shane Harris has worked on high-profile commercials, music videos and the indie features The Signal and Celeste and Jesse Forever, but Dawn of...
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