Colorist Doug Delaney Collaborates with DP Jim Denault to Digitally Grade Film Shot on Super 16
Post Logic Studios, a leading independent post-production and digital intermediate (DI) service facility, has completed DI for “The Passage.” The independent Silverwood Films production was directed by Mark Heller and filmed by Emmy-nominated DP Jim Denault.
“Working with Post Logic was an absolute pleasure–so much so that I‘m hoping to bring my next film there,” said Lynette Howell, the film‘s producer and co-founder of Silverwood Films. “The people at Post Logic are absolute pros and we were very well taken care of throughout the project. The film looks beautiful, thanks in part to the talents of colorist Doug Delaney.”
“The Passage” stars Stephen Dorff as a tourist visiting Marrakech who falls in love with a beautiful Moroccan woman and realizes that the romance could put both their lives at risk.
The film was shot on Super 16, allowing the filmmakers access to shoot in spaces such as a crowded marketplace and cramped underground tunnels that would have been difficult to capture with larger camera equipment. The feature was largely shot with available light, and was finished with a DI in order to have the flexibility of digital control over color and image, and to finesse lighting variations in some very low-light sequences.
“Many of the film‘s suspenseful sequences are shot in extremely dark tunnels. DI was used to solidify the blacks in these scenes and control the image so that they remain very dark, but still readable,” commented colorist Doug Delaney. “In the DI, we also supplemented the still camera flashes Stephen‘s character was using in some scenes with power windows and selective color correction to make the flashes more jarring to the viewer. In terms of the look of the film, Jim and Mark started out with a clear idea of what they wanted. I completed a pass on the movie based on previous phone conversations, so when they came in for the DI sessions, we were already very close to the finished look.”
Since the film was shot on Super 16, the digital intermediate route would produce an optimized theatrical print. Without a DI, 16mm films undergo an optical blow-up to 35mm for big screen release. When remaining in the digital realm however, Super 16 film can be digitized immediately from the negative, yielding a much higher quality first generation digital print than an optical duplication.
In the film, Stephen Dorff‘s character is a hobbyist photographer, and much of the film‘s look is reflective of that natural street photography feel. Post Logic Studios took Super 16 negative from the EDL and transferred selects onto HDCAM SR. These transfers were on-lined, and the DPX 10-bit log files were brought into the FilmLight Baselight for color grading.
“Thanks to Denault‘s incredible cinematography, this film is beautiful, and when viewed on a 26-foot screen looks indistinguishable from high speed 35mm. The Super 16 format has a really nice look to it, and this project was a testament to its viability as an acquisition format for theatrical release–especially when combined with a DI, this pipeline provides a really clean image and retains the full dynamic range of the photography,” Delaney concluded.
About Post Logic Studios
With technologically advanced facilities in Los Angeles and New York, Post Logic Studios has distinguished itself as a leader in digital intermediate and feature film restoration, and continues to expand into new and emerging arenas within the post-production realm. The company provides unmatched digital intermediate, digital mastering, editorial assembly, restoration, visual effects and audio postproduction services to feature film and television clients from its flagship Hollywood facility and Manhattan-based satellite, Post Logic Studios N.Y. Encompassing a team of the feature film and television community‘s most talented digital artists and a 1,500-square-foot digital cinema-enabled theater, Post Logic Studios continues to lead and innovate. For more information, please visit
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